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<\/a>Happy Women Come Every Day! Click to See!<\/p><\/div>\n
and text that delivers both the frustration of waiting (for the climax) and of achieving the ultimate result of final release when the story closes full circuit. Even more enjoyable is that if one leaves the page open, it repeats! Over, and over, and over again!<\/p>\n
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Hayles, in her book Electronic Literature: New Horizons for the Literary<\/i> refers to another work (\u201cThe Set of U\u201d) where there is a \u201cverbal text and [a] sonic component\u201d (19). This may help to illustrate the idea that using sound and text is certainly nothing new insofar as one might see it used in the digital age. The EXPLORATORY (I must insist on this word as a deliberate pun) and AMBIENT nature of \u201cCunnilingus in North Korea\u201d does indeed combine both text and sound in a black and white \u2013 with occasional FLASHes of red \u2013 manner. \u00a0Hayles does later speak about another YHCHI piece, \u201cDakota\u201d which, in a very similar fashion, \u201cproceeds in rhythmic syncopation\u201d to a portion Ezra Pound\u2019s \u201cCantos\u201d and piece of Art Blakey\u2019s jazz. Without missing accuracy, Hayles also notes that the aesthetic strength of \u201cDakota\u201d comes from its \u201ctext, music, and timed sequence[s]\u201d (29). She goes on to mention that Jessica Pressman has identified \u201cDakota\u201d as a work of digital modernism<\/i>. It would be remiss to ignore those two words when considering the place that \u201cCunnilingus in North Korea\u201d has in modern electronic literature. \u201cELECTRONIC LITERATURE IS NOT PRINT\u201d is the header of Hayles\u2019 next segment (30) that without any further referencing to the text itself one can gather that there is nothing short of a very clear statement being made. Relating it to \u201cCunnilingus in North Korea,\u201d or any number of other works by YHCHI for that matter, it is an obvious statement. \u201cPaying attention to the ways in which electronic literature both extends and disrupts print conventions is\u201d worth taking a moment to chew on (30). There\u2019s something to be said for Hayles\u2019 commentary about the derision from the literary-critic heavy-hitters that decry the value of the digital medium \u2013 her mentioning this brings one to wonder if there\u2019s something worth separating out from the current definition. Perhaps the problem, as Hayles says, arises \u201cwith identifying the hyperlink as electronic literature\u2019s distinguishing characteristic\u201d as being different or the same as its predecessor\u2019s \u2013 that is, print media (31). \u201cCunnilingus in North Korea\u201d is about as scripted as a work can get \u2013 and rigidly so. There is no flipping of pages, there is no pause, there is no starting nor stopping at a user-decided place \u2013 indeed, the work forcibly takes the view\/listen-er on a journey that, once started, can only be prematurely ended, listened to or watched in its entirety, or pre-emptively started again from scratch. In that regard, Hayles as (I imagine, not accidentally) identified a fairly stark difference \u2013 the lack of flexibility in the interaction with works such as those produced by YHCHI.<\/p>\n
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So, what about YHCHI? Who are they? They<\/i> are \u201ca Seoul-based collaboration between Young-Hae Chang and Marc Voge\u201d (Hayles, 29) that began in 1999. Their works, as can be readily seen on their web-page, are available in multiple languages. The programming is typically done in Flash, a contemporary animation programming language designed by Adobe. Young-Hae Chang Heavy Industries has appeared around the world, and have even arrived on the other<\/p>\n
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