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1. Game, game, game, and again game

   Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist's changing worldview lens. Much of the western world's cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises.

   Scott Rettberg - 15.04.2011 - 14:43

2. Golpe de Gracia

   Golpe de gracia is an interactive multimedia piece that combines text, illustration, audio, modeling, and animation and tells the story of a character who undergoes a "near death" experience; this particular situation also functions as a metaphor for the cultural transitions of the present moment. The text is comprised of three "narrative worlds": Cadáver exquisito, L'nea mortal and Muerte digital (Exquisite Corpse, Mortal Line, and Digital Death, respectively) and four "deepening rooms" (games, reading texts, study, and construction). The work offers several different degrees of interaction that range from taking decisions in order to follow the routes, all the way up to the collective construction of the text, along the way participating in several interactive games. Golpe de gracia also has an educative and communicative purpose, which is to make us aware of, and to contribute to, the development of collective knowledge.

   Scott Rettberg - 15.04.2011 - 14:53

3. mémoire involuntaire no. 1

   This text begins as a short memory, recalled and composed by the author. Periodically and involuntarily the words are replaced in real-time by synonyms and coordinate terms extracted from the Wordnet database. After a certain amount of time has elapsed the text enters a second state where it attempts to "remember" its original form, where the text longs to reconstruct the original memory as it was first remembered and composed. In this state (in which it ceaselessly remains), the text attempts to cycle back through the word replacements and is more likely to "remember" than "forget," although there exists the possibility that the text will drift toward new replacements, new significations. As Walter Benjamin once wrote, "Memory is not an instrument for exploring the past but its theatre." Indeed, this text is an experiment in the involuntary performance of memory - forever departing from the moment of its inscription while forever attempting to return to the script and source of its unfolding.

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

   Scott Rettberg - 15.04.2011 - 15:14

4. New Digital Emblems

   I probably encountered emblems first through the work of Ian Hamilton Finlay. Like much that I admire, emblems are really on the margins of art and literary history. Before the dot.com bust, so much that was written about the web struck me as wrong-headed. People imputed what I can only call 'magic' to web's feature set. Low-cost-per-million multimedia interactivity was going to change the world. I knew that people had said similar things about the emblem, and had offered, in outline, many of the same reasons for it. So the emblem, often literally magical, became a caricature of the web.

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

   Scott Rettberg - 15.04.2011 - 15:18

5. Reconstructing Mayakovsky

   Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.

   Scott Rettberg - 15.04.2011 - 15:38

6. Roulette

   Roulette is a work of recombinant narrative that offers a novel interactive reading experience. As lines of text shift and fade in response to user manipulation of the 3-D interface, a fractured collection of stories is revealed, shifting in mood and meaning with each reading.

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

   Scott Rettberg - 15.04.2011 - 15:43

7. Screen

   Screen is an alternative literary game created in the "Cave," a room-sized virtual reality display. It begins with reading and listening. Texts, presenting moments of memory as a virtual experience, appear on the Cave's walls, surrounding the reader. Then words begin to come loose. The reader finds she can knock them back with her hand, and the experience becomes a kind of play - as well-known game mechanics are given new form through bodily interaction with text. At the same time, the language of the text, together with the uncanny experience of touching words, creates an experience that does not settle easily into the usual ways of thinking about gameplay or VR. Words peel faster and faster; struck words don't always return to where they came from; and words with nowhere to go can break apart. Eventually, when too many are off the wall, the rest peel loose, swirl around the reader, and collapse. Playing "better" and faster keeps this at bay, but longer play sessions also work the memory text into greater disorder through misplacements and neologisms. (Source: authors' description.)

   Scott Rettberg - 15.04.2011 - 15:56

8. Semantic Disturbances

   Reinforcing changing attitudes and roles toward art, religion and technology. Experimental research using Google search results. Textual fragments found on the Web are programmatically rearranged, deformed or crushed, deconstructing and re-contextualizing the actual text. By applying this strategic process new, dismantling and reorienting contexts arise, not directly conforming to the mundanity of the original result listings. (Source: author's description.)

   Eric Dean Rasmussen - 18.04.2011 - 09:49

9. Accounts of the Glass Sky

   In this Flash hypertext, Coverley weaves a tapestry of text, image, and sound, telling a California story that many readers can relate to. In this piece, the sky itself is the center of a meditation on memory and loss across decades of human experience. The same "blue sky" that often refers to people's wildest dreams now comes to represent boundaries and fears.

   (Source: Electronic Literature Collection, Vol. 1.)

   Eric Dean Rasmussen - 18.04.2011 - 11:07

10. Itinerant

    Itinerant invites people to take a walk through Boston Common and surrounding neighborhoods to experience an interactive sound work that re-frames Mary Shelley's Frankenstein, the classic tale of conflict between techno-scientific hubris and the human spirit. A second orignal text is woven throughout the space, engaging visitors in a search for an elusive character who is doppelganger to both the doctor and the creature. Sounds, "played" by visitors as they move through the city, create a series of frames within which to reflect upon our highly mobile, technologically saturated society and issues of identity, place, and displacement. Mobile and locational media (GPS) formally underscore themes in the work. The sonic overlay is also presented as an interactive map on the web, creating a formal re-framing and displacement of this site-specific work.

    (Source: Artist's description at project site)

    Scott Rettberg - 18.04.2011 - 12:36

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