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1. Amor de Clarice

   Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

   Scott Rettberg - 15.04.2011 - 12:04

2. 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

3. Sooth

   Sooth is a set of love poems interactively triggered phrase-by-phrase to fly in flocks over original video. Sounds associated with each phrase are mapped to audio which pans and volume shifts in space as the phrase flies. Easing equations are randomly shuffled to create a sense of behavior to each phrase. Text-code-video-audio all original and released under a Creative Commons 2.5 License. It was created while I was artist-in-residence at La Chambre Blanche web-lab in Quebec city. Bilingual: French-English in same interface.

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

   Scott Rettberg - 20.04.2011 - 12:46

4. Up Against the Screen Mother Fuckers

   The poem is an abstract rendition of the rotten silk that fetters us people to these our awful screens. The graphics were generated in the CAVE writing text editor, by taking an ill-performing video screen capture of a spectral tube of "O"s in the editor's desktop preview mode. The audio was separately generated by improvisations into a Max/MSP patch. The title is after the late 60s anarchist affinity group, Up Against the Wall Mother Fuckers. I was inspired by their dramatic final exploit: cutting open the fences at Woodstock. The phrase Up Against the Screen Mother Fuckers started as the title for a CAVE piece, in which one thousand units of the people would enter the CAVE and break through its 4 screens to the vestibule holding the mirrors behind it.

   The poem was composed between Paris and Cork, 1-5 July 2007. The media was generated at Brown University, October 2007 to June 2008. First screened in Providence at Couscous, organized by Mairéad Byrne

   (Source: Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 14:31

5. Tao

   Tao

   Eric Dean Rasmussen - 21.04.2011 - 12:25

6. Interstitial

   David Jhave Johnston’s video-based "Interstitial" is a meditation on terminal anxiety. The title of the piece, which refers generally to that which occupies an “empty interval,” takes on a specific connotation when one considers its popular use in web development contexts for the commercial “pre-loaders” that hawk their wares while one waits for the site to open. The video, which is minimally edited, features three views arranged in triptych form: a cat decomposing in a river, tidal pools, and a bug undergoing metamorphosis. These events, as witnessed by Johnston, are unaltered and unmodified, simply captured where they occurred using handheld equipment. According to an artist’s statement published on Tributaries and Text-fed Streams (http://tributaries.thecapilanoreview.ca/2008/02/22/interstitial/), the web presentation of the files was formatted through the process of naming the discrete video, audio, and poetic text files and allowing software to assemble these pieces into an endless loop.

   Patricia Tomaszek - 06.05.2011 - 14:19

7. Clearance

   Inspired by British stone carver Billy Johnson who, in 2007, left a series of stone heads outside houses and public locations across the North of England, Clearance presents the user/reader with a series of barren, mouse-responsive landscapes and video sequences littered with renmants of narratives from an unexplained apocalyptic event. 

   Andy Campbell - 19.05.2011 - 13:26

8. Det siste utbruddet / The Last Volcano

   This video project explores Norwegian folk histories that return as fragments in light of ongoing volcanic eruptions. The project was recorded in Bergen following the disruptions caused by the activities of the Eyjafjallajökull volcano in Iceland. A folk history of disaster is set against slowly revolving images set in a contemporary landscape. This is the first of a series of works recorded in Norway that juxtapose folk histories and contemporary events to explore narrative and associative characteristics of cultural anxieties and collective memory. The project was researched and filmed by Roderick Coover in 2010 thanks to a distinguished-scholar-in-residence award from the University of Bergen.

   Scott Rettberg - 20.05.2011 - 22:55

9. I know that somewhere this is a homage some where

   "I know that somewhere here this is a homage some where" is a mixed media appropriation designed to be streamed via a web browser. It combines the opening seqeunce of Welles' "Citizen Kane" with text from Nelson's "Literary Machines". This intertwingling reverberates in all sorts of ways, simply in their being drawn together. Kane's mansion (never finished) was Xanadu, and of course Coleridge's poem "Kubla Khan" was the result of a vision that was never able to be realised. Yet from within these impossible visions (which is probably also a rather apt way of considering Welles' life as a film maker) great works have been produced. There are other, more complex layers - for instance Citizen Kane's narrtive structure as memory palace, the film's appropriation of other discourses (newsreel, radio, literature), its play between the linear temporality of cinema and the nonlinearity of its flashback structure - but these are less explicit than the simple corollaries between Xanadu, Coleridge, Welles and Nelson.

   (Source: Author's description from The New River 6)

   Scott Rettberg - 12.10.2011 - 12:18

10. Je liegt en je filtert ... (You're lying and you filter ...)

    A dictation exercise. Girls in an educational black & white setting. Sentences (well-pronounced but sloppily) read by a male voice at dictation speed. The reaction of the girl in focus colors the content.
     

    David Prater - 09.11.2011 - 15:32

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