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SWALLOWS 2.0
An updated version of his original 1985 work, recreated for the web by the author after Matthew Kirschenbaum rescued the source files from floppy disc.
Jill Walker Rettberg - 19.04.2012 - 03:00
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Eight Was Where It Ended
The piece is a short poem written using a nested series of file folders on a computer desktop. The process of composition is animated, with a total run time of two and a half minutes followed by a pause before repeating. A scripting agent running on the command line controls a Finder window view of the desktop as folders are created, renamed, reshuffled, and nested within one another, forming the poem. What is presented is not a video recording - it runs live on the desktop file system in the gallery. The viewer watches as the poem is written in folders, expands, is dated and sorted into its final form, and finally disappears to start again.
The work "Eight was where it ended" explores one story from the community of "Angel Baby" mothers - online communities dedicated to grieving for their unborn children in ways not afforded by society at large. It explores this identity position through the medium of digital file systems, in particular their embedded modes of representing temporality, the visible, and the hidden.
Eric Dean Rasmussen - 23.04.2012 - 14:05
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Clues
Clues explores the nature of communication, knowledge, and identity through the language and postures of mystery fiction. It's a metaphysical whodunit that invites you to solve the mystery by uncovering clues linked to images throughout the work. The search becomes a game that leads you down wooded trails, back alleys, and empty hallways. Which characters should you pursue? Which objects should you investigate? To win the game, you must separate all the clues from the red herrings. Your final score determines the outcome of the text. But is the mystery really soluble? Is winning actually better than losing? Are the answers or the questions more revealing?
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 16.06.2012 - 11:45
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Animalamina
Created by babel and 391.org, Animalamina, a collaboratively constructed work of multimedia poetry for children, consists of 26 pages of flash-based poetry organized around the letters of the alphabet. The key aim of this project is to introduce a younger audience (5 - 11) to a variety of styles of digital poetry, animation and interaction, through the familiar format of an animal A-Z. As the project’s “background” page notes, this work is situated within a tradition alphabet primers that stretches back over 500 years. This background is noteworthy precisely because of the tradition’s combination of pedagogy and play, instructing new generations in the mechanics of emerging techniques and technologies. Specific innovations introduced in this recent ABC are animation, audio, interactive content, non-linearity and chance.
Scott Rettberg - 16.06.2012 - 12:01
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Into the Green Green Mud
A story of love, and after-love. Eternity is a fickle thing, and the moments just keep coming. Clouds shift, the sun moves past, and squirrels are collecting nuts, so where does that leave us?
Into the Green Green Mud is an ode to change & impermanence, both in content and medium. Starting from a simple text “script” we are creating a number of inter-related “performances” in various media. This version includes text, images, code, and animation, with a soundtrack that you can download and listen to. Future versions might include a printed book, a live multimedia performance, sky writing, or anything else we decide to explore.
Miriam Suzanne - 20.06.2012 - 21:32
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Ah (a shower song)
Ah articulates a simple paradox of reading animated digital literature, which is that the eye, and by extension the mind, often has no sense of the future of a sentence or line of text and, more importantly, is not given the chance to retread an already witnessed word or phrase. Young-Hae Chang Heavy Industry's Dakota is a perfect illustration of this principle. In Ah, the central object of rumination is Einstein, but just as the physicist pondered the numberless variations between the presence of a "1" and "0," this Flash animation brings us back and forth between clever articulations and the ambiguous expressivity of single letters and syllables.
Marije Koens - 25.07.2012 - 11:47
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C()n Du It
C()n Du It is a volume of poetic audio-videoclips, presenting the most important phenomena of visual culture and asking questions about a man’s place in the online sphere and about identity in the era of avatars. Intense, expressive and ironic pictures, show in an epigrammatic form our daily internet ‘rituals’, like clicking, posting, chatting. References to animation, film, advertisement or video games create dynamic, expansive clips. No ‘dry bones’, using a metaphor from ‘logical poem’, but a truly ‘fleshy’ poetry, precise and firm. The style of the whole volume may be described as a ‘post-Atari’, with green color reminding of system commands and simple font expressing nostalgia for the uncomplicated, 8-bit world. The spectator is forced to simultaneously cope with the picture and sound and experiences a true stereophonic reality. In so uncertain 20th century a man is a constantly reborn avatar, a pixel or just a printed circuit on the motherboard of society.
Patricia Tomaszek - 04.10.2012 - 16:19
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Making Visible the Invisible
Installation at the Seattle Central Library, 6 LCD Screens on glass wall, 45" x 24' (2005-2014)
Patricia Tomaszek - 11.10.2012 - 12:27
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PoemAds - Sob o signo da devoração
Rui Torres' text engine, with animation and combinatorics, from advertising slogans of butters, beers, water, cars, soft drinks, banks, credit cards, shampoos, supermarkets.
source:https://po-ex.net/taxonomia/materialidades/digitais/rui-torres-poemads/
Maria Engberg - 11.10.2012 - 14:37
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Dig
"Dig" by Steve Duffy uses Javascript to create an elegant representation of verbal conflict in simple white text on black background. Through the use of floating frames and marquees, the harsh reality of "digs," or emotional, sarcastic jabs at a person, are cleverly represented in a case where less is more. The absence of audio allows for readers to focus where they should: the startling white text scrolling quickly along the black background. The text also moves at varying speeds from left to right and right to left, creating an interesting visual experience.
Readers get a sense of the conflict through passages like, “Everything you tell me is true but you lie lie lie," and "No-words mean more than some words. Each word worms its way out of things… Here is the blind mole driven to dig. I'm a poor creature, deluded, digging in the text. I don't believe a word of it." As the text flows in both directions, Duffy illustrates how people can dig themselves deeper and deeper as arguments escalate.
(Source: Electronic Literature Directory entry by Joy Jeffers)
Scott Rettberg - 16.10.2012 - 16:46
