Paul D. Miller on Fri, 20 Sep 2002 05:01:29 +0200 (CEST)


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<nettime> Japanese Techno Ebonics: Kenji Siratori




3 AM Magazine interviews Kenji Siratori

I'm turning into a big Kenji Siratori fan... just thought I'd pass this
along. We're doing an interview and MP3 excerpt from some of his work in
the upcoming 21C beta issue launch (along with various other folks), and
this gives some good context.... Paul

beta-version:
www.21cmagazine.com



http://www.3ammagazine.com/litarchives/2002_jun/interview_kenji_siratori.html

	3am Interview 




------------------------------------------------------------------------
THE NUDE BRAIN: AN INTERVIEW WITH KENJI SIRATORI 

"I believe that the novel becomes a cultural trigger -- but this requires
the digital narrative of nerve cells that had the creature intensity --
simultaneously we must perceive the instant when the novel is networking
as a part of the human body emulator."

------------------------------------------------------------------------
Richard Marshall interviews Kenji Siratori 

COPYRIGHT  2002, 3 A.M. MAGAZINE. ALL RIGHTS RESERVED
------------------------------------------------------------------------

------------------------------------------------------------------------


3AM: Give the readers some biographical details -- maybe including your
involvement or non involvement with World Cup excitement.

KS: My vital icon functions to hypermodern space -- the gene dub that was
turned the strategy. I'm beating as a hardweb -- like the streaming
machine of World Cup -- my nerve cells that turned nomads are the
data=mutant of the violence screen. I'm writing this in the silence of an
unnationality now.

3AM: Your writing is extreme -- there's violence, sex in plenty. Where
does this come from: is it influenced by film experiences, reading
experiences or personal experiences? It reminds me of 'Tetsuo'.

KS: So my writing was born with the horizon of techno -- I'm advocating
nerve physics here -- I process violence and sex as the reality of data --
I take a view of my conceptual web with nerve experiences. The writing is
linked to how I game this expanded hardweb for me -- such a method that
touches to my brain more cruelly.

3AM: The form of the writing is extreme too -- it seems to break the
language into something else, almost a new language. What are you trying
to achieve here?

KS: In my writing the language cell is able to be distorted by the
infinite hyperlink of the synapse -- 'a new language' is the conceptual
pain -- all the data act as the hardweb character as if I dissect
subjective writing, I'm striking the nude brain to a screen. This is the
practice that hardweb creatures were disclosed.

3AM: Are there writers you feel have been important to you? Writers from
the past and writers writing now? If so, who are they, and what makes them
important?

KS: Certainly Antonin Artaud exerted an important influence on my hardweb
-- Artaud produced PDA of a nerve cell -- there is different vital
possibility that was hypercontrolled by the language here because the
creature intensity of hardweb is increased to our atrocious gene dub.

3AM: How far is Japan an influence on you and your writing?

KS: Japan is the cultural discharge zone where was alienated for me -- is
the dark arrangement of my writing for literary defection.

3AM: Tell us about your novel Blood Electric -- about how you came to
write it, what is it about and what are its themes? Why might we want to
read it?

KS: So my novel is presenting the aspect of a genetic hardweb clearly --
the nerve cells that run through our gene dub -- is the strategic object
that our body codes erodes the world.

3AM: We live at a time when the novel is under attack -- film and music
are more advanced we're told. Do you think this is true or do you think
the novel can still be a modern, advanced place?

KS: I believe that the novel becomes a cultural trigger -- but this
requires the digital narrative of nerve cells that had the creature
intensity -- simultaneously we must perceive the instant when the novel is
networking as a part of the human body emulator.


3AM: The world is a place where violence seems to be everywhere -- and is
taking on new meanings -- from September 11th type stuff to the Sarin gas
attacks in Tokyo to Israel: is your book a response to this? Are you
trying to find out what language can do with this new world? Are you
positive about the world or is there something too negative about
everything now? Do you think as a novelist you should try and answer such
questions such as 'How should we live', like Tolstoy thought novelists had
to?

KS: We must control a different vital language cell in the world, so the
world is exposed to more physical gene dub. I practice hardweb of the
creature intensity as the data mutant of the world -- the new world is
resisting our evil gene dub with the era respiration byte. The echo
archive. As all the data of the human body flow backward to our global
hardweb.

3AM: Do you think there's a new readership out there who are wanting to
break out of the old forms because they're no longer relevant?

KS: Yes -- I call this a different vital plug-in of the global hardweb
--but it's important to incubate purer nerve cells -- to produce our
creature intensity into the cursed gene dub. You are the interactive data
mutant.

3AM: What are you going to do next?

KS: I am advancing simultaneous a plural project at present -- I disclosed
the prototype of codework biocapture v1.0 recently, and the exhibition
biocapture_archive based on the practice of hardweb will be opened in CCA
Glasgow in August: 'literature is networking to our gene dub'.  
------------------------------------------------------------------------
ABOUT KENJI SIRATORI

Kenji Siratori (born in 1975) is a cult writer from Hokkaido
in Japan. His short stories Tattoo and Hallucination=cell have
appeared in 3A.M. Magazine. His novel Blood Electric is hailed
in some quarters as a cyberpunk classic.












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