Description (in English): 

In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.

(Source: Author's description from the Electronic Literature Collection, Volume Two)

I ♥ E-Poetry entry: 
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Videographer: Paul Ryan

A longer description, with reading options described: Human language struggles to credit the capability of the other-than-human. Even as praise and description flow freely, human speakers reserve agency and judgment to themselves. Writing that honors the agency of animals does so in terms that disallow machine or mineral intelligence. In attempting to know, humans slice arbitrarily through entangled wholes. slippingglimpse, by contrast, reconstitutes an entangled whole. slippingglimpse is a collaborative interactive piece made with Flash software incorporating ocean videos shot off the coast of Maine. In this poem, water waves “read” words of text, words of text “read” the state of technology, and video technology “reads” patterns in the waves, coming full cycle. slippingglimpse credits the ocean with language, “understood in the broadest sense as a semiotic system through which creatures ‘respond’ to each other,” in the words of Cary Wolfe. In the FULL-SCREEN opening mode, phrases of poem text are “read” by the water; that is, they are mapped to its patterns. These patterns are called chreods and are the words of the water’s language. (For more about words in a multi-dimensional environmental language, see René Thom, Structural Stability and Morphogenesis.) Cynthia Lawson Jaramillo’s programming here adapts the text to the water rather than for human reading. In SCROLL TEXT mode, text appears at human scale; it “reads” technology by sampling and recombining words from four sources: 1) artists interviewed in two issues of YLEM: Artists Using Science and Technology; 2) Hildegarde of Bingen; 3) a Silesian folktale, The Passion of the Flax, which explores ancient technologies of harvesting plants for food and flax for paper; and 4) Strickland’s own words. In HI-REZ VIDEO mode, the chreod patterns are most easily grasped, as captured and “read” both by the camera and by the videographer. Paul Ryan’s technical interventions are guided by long apprenticeships in ecology and topology. In SCROLL TEXT mode, readers coming to the piece may contribute their own readings by using the sliding pointer to control speed and direction of scrolling. They can choose to view images, read text within images, read text breaking across the frame of the video out into the blackness or down into a column of scrolling text, or they may read text of either column in any order they wish, pausing (freezing) or rewinding the scroll at will. They can read in concert with the water or read by intervening; they must continuously decide how to direct their attention. In all video modes, readers can click “regenerate” to swap new random selections of text from the scroll into the water. Questions asked implicitly here: Where does exploitation (of earth, of cosmic, resources) begin? How do humans “read” it, justify it, and to whom?

Critical writing that references this work:

Titlesort ascending Author Year
“Iteration, you see”: Floating Text and Chaotic Reading/Viewing in slippingglimpse. Gwen Le Cor 2013
Time-Lapse Reading as Critical Performance Álvaro Seiça 2014
The Digital Diasthima: Time-Lapse Reading Digital Poetry Álvaro Seiça 2015
The Digital Diasthima: Time-Lapse Reading as Critical and Creative Performance Álvaro Seiça 2015
Strickland and Lawson Jarmillo's slippingglimpse: Distributed Cognition at/in Work N. Katherine Hayles 2009
Reassembling the Literary: Toward a Theoretical Framework for Literary Communication in Computer-Based Media Jörgen Schäfer 2010
Poetry@science? – slippingglimpse Stephanie Strickland, Cynthii Lawson Jaramillo i Paula Ryana Monika Górska Olesińska 2011
One + One = Zero – Vanishing Text in Electronic Literature Marjorie C. Luesebrink 2013
New Directions in Digital Poetry Chris Funkhouser 2012
Nature’s Agents: Chreods, Code, Plato, and Plants Lisa Swanstrom 2013
Liberatura, e-literatura i...Remiksy, remediacje, redefinicje 2011
Is the Future of Electronic Literature the Future of the Literary? N. Katherine Hayles 2007
Introduction: Juncture and Form in New Media Criticism Francisco J. Ricardo 2010
I Love E-Poetry Leonardo L. Flores 2011
Electronic Literature: New Horizons for the Literary N. Katherine Hayles 2010
Dovetailing Details Fly Apart — All Over, Again, in Code, in Poetry, in Chreods Stephanie Strickland, Cynthia Lawson Jaramillo 2007
Distributed Cognition at/in Work: Strickland, Lawson Jaramillo, and Ryan's slippingglimpse N. Katherine Hayles 2009
Animal, Vegetable, Digital: Experiments in New Media Aesthetics and Environmental Poetics Lisa Swanstrom 2016
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Eric Dean Rasmussen