Yael Kanarek's World of Awe (http://www.worldofawe.net) is the
documentation of a fictional 'traveler' exploring a magical landscape in
search of a 'lost treasure'. We encounter the traveler through an
interface, which is both magical and mundane. It looks suspiciously
like a Mac or Windows desktop, there are icons on the desktop and pull-
down menus at the top of the screen. But click an icon or choose a pull-
down option and you'll be instantly transported to the world of the
traveler. The World of Awe.
Yael builds World of Awe through images of desert landscape,
descriptions of the traveler's tools, pages from the traveler's journal,
and love letters that the traveler sends to a lover left behind. All
these elements are seamlessly integrated through the interface, which is
a wonderful technical use of dynamic HTML, much of it written by
programmer Luis Perez.
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Twhid: Yael, why did you choose to use the utilitarian GUI (graphical
user interface) standards as the guidelines to build your interface for
the magical environment described in World of Awe? As if World of Awe is
an application running on a desktop?
Yael Kanarek: I think of an application as a private environment to execute
ideas. Working in an application is usually a solitary experience and
therefore seemed appropriate for a journal containing the particular
narrative I have been developing. Also, I was hoping to increase
usability, as visitors are familiar with standard navigation system and
by that guide them directly into the narrative. But I don't really think
it worked out that way. Instead of becoming transparent the interface
becomes very apparent and as a result of re-purposing conventional
functionality it ends up revisiting the language that is used in GUI.
For example, words such as NEW and SAVE in an application indicate
certain actions, but their usage in language is wider and in the context
of WOA we are reminded of that. In that respect the interface becomes
part function, part fiction. Another reason for using GUI stems from the
narrative. In [the chapter] Silicon Canyon the traveler is rebuilding a
laptop from old hardware and software. What we are seeing as the website
is a mirror of the content restored from the laptop.
Twhid: Do you want people to think that the interface is from the
traveler's laptop?
Yael: Yes, but it's not critical. Though this idea serve well as a link
between the fantastical narrative and reality. The website becomes a
player in the narrative allowing the story to spill beyond its original
territory.
Twhid: There has been talk in the net art community about going 'beyond
the browser', Jodi (http://www.jodi.org) created SOD, there's Netomat,
and other artists' applications are being developed that aren't browser-
based. Why did you choose to create a browser-based application rather
than a downloadable application?
Yael: The web has proven to be a great environment for exploring the
blurry borders of fact and fiction. The McCoys do it in Airwold, you
have been playing with it in MTEWW. Also, the web is a more
impressionable environment for a project that is constantly developing.
I can easily update and I like that. Luis and I are working on another
environment that will expand the visual experience of World of Awe. That
one is being built on a game engine and will be a downloadable
application.
[At this point, there is some convoluted conversation prompted by
t.whid's vague and ill-formed questions. The one interesting point that
arises from this part of the conversation is that the edges of the story
of the traveler are meant to be "open ended, the gender of the traveler
isn't defined, whether or not it's even human isn't defined."]
Twhid: Why do you want to keep the edges of the story ambiguous?
Yael: It's right in line with the reader-generated interactivity that
the web encourages. So in addition to the conscious decisions the
readers make when choosing a link I create space for some subconscious
ones such as whether the traveler is male or female.
Twhid: So a real plot isn't that important?
Yael: I don't think that keeping the edges of the story ambiguous
negates a plot.
Twhid: It seems like plot is less important than in a traditional story
because of the hypertext nature of the web, you can enter the story from
an arbitrary place.
Yael: True. Find a link and enter. I preferred if visitors read pages
from beginning to end though because the humor and the twists are in the
details. For that reason I restricted the use of hypertext by excluding
links from the body of the narrative so once you open a page you are
actually exposed to a mini plot.
Twhid: What does the Lost Treasure mean to you Yael?
Yael: Wow. Now we're sliding right into an ambiguous edge. What does it
mean to you?
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T.Whid is one half of MTAA (M. River & T. Whid Art Associates), a
Brooklyn-based conceptual and net art collaboration. Recent exhibitions
include: 'The Art Entertainment Network' (http://aen.walkerart.org) –
created by the Walker Art Center, 'Three Suitcases' Art & Idea in Mexico
City, and '9/9 Review of Practical Art', published in Paris, France.
MTAA's online artwork and more information at MT Enterprises WorldWide
(http://www.mteww.com).
This interview will appear in Sandbox#8: BANG! which focuses on
experimental music and sound art and features interviews with Diamanda
Galas, Granular Synthesis and Willy le Maitre and Eric Rosenzweig of the
Appearance Machine. The magazine will be released at a live performance
event at Galapagos on Tuesday October 3rd (70 n. 6th st in
Williamsburg). Copies can be purchased by sending a $5 check (or $8 for
a 2 issue subscription) at PO Box 150098 Brooklyn NY 11215.
