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Carving in Possibilities
Carving in Possibilities is a short Flash piece. By moving the mouse, the user carves the face of Michelangelo's David out of speculations about David, the crowd watching David and Goliath, the sculptor, and the crowds viewing the sculpture.
(Source: author's description in ELC 1.)Eric Dean Rasmussen - 18.04.2011 - 13:28
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Still Standing
Still Standing is an interactive installation that invites participants to stay motionless and contemplate its poetic content, a poem titled “seeking sedation.” Nowadays, designs are created to be decrypted and enjoyed at a glance, requiring no attention span. The piece evolved as a response to the "collapse of the interval"; a phenomenon of fast pace culture that rarely allows us a moment to stop and observe; a habit that weakens the fragile approach towards design with dynamic typography. The installation consists of an amalgam of characters projected on the wall as if they were resting on the floor. When a participant walks in front of the projection, the first reaction of the text is to act as if it was being kicked, pushed by the person's feet. When the participant stops for a short moment, the text is attracted towards his position and moves up, like water soaking his body. The participant can then enjoy a motionless moment and contemplate the textual content that becomes more and more legible. When the user is done and decides to start moving again, the text falls back to the floor and wait for a new interaction.
Scott Rettberg - 18.04.2011 - 13:45
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Chemical Landscapes Digital Tales
Chemical Landscapes is a series of photograms by Mary Pinto. The photos suggest landscapes but are created entirely in the dark room, using only chemicals and a flashlight. For this project, I've written a series of "digital tales" suggested by the particular chemical landscape. I hope the relationship of language and narrative to the "tale" parallels the relationship of light and chemicals to the "landscape." The piece begins with a title page that serves as a navigation page. By clicking at various places on the page you're taken to one of the eight chemical landscapes. Once you arrive at a landscape, the digital tale fades in and then out, and you may click on the screen at any point to jump back to the navigation page. I have tried to time the fading in and out of the text so that it is almost impossible to read it all before it fades away. My hope is that the reader will recognize the necessity of jumping around in the text, picking up pieces of the tale to read and ignoring other pieces, thereby creating a different experience with each reading.
Eric Dean Rasmussen - 19.04.2011 - 07:24
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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
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synonymovie
synonymovie generates a sequence of images based on a single word: a "movie" that develops algorithmically through a chain of semantic relations. Initially, synonymovie asks the user to introduce a word, which will be the "seed" (as in "random seed," a number used to initialize a pseudorandom number generator) from which the image sequence will unfold. The sequence starts by finding an image related to the word, using an on-line image search engine. Then, a synonym for the word is obtained from a Web-based synonym server, together with its corresponding image, and so forth. The "movie" will end when a word without synonyms (or related images) is found.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 13:07
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This is how you will die
A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 13:23
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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
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WhereAbouts
WhereAbouts is an interactive poem about urban life. It juxtaposes planning and order with movement and chaos. The neatly planned and perfectly ordered design of poetry in the form of short verses gives way to the busy ant-like rush of letters in the changing streets designed by the reader, as she drags around the "example" blocks as she pleases. The planned and recognizable city now disappears, and another city emerges, one composed of the bustle of the letters that inhabit it, even as they hurry to leave the screen.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 14:45
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Lance Olsen
Lance Olsen was born in 1956 in River Edge, New Jersey, and received his B.A. from the University of Wisconsin (1978, honors), his M.F.A. from the Iowa Writers Workshop (1980), and his M.A. (1982) and Ph.D. (1985) from the University of Virginia. He is author of eleven novels, one hypermedial project, four critical studies, four short-story collections, a poetry chapbook, and two textbooks about fiction writing, as well as editor of two collections of essays about innovative contemporary fiction. His most recent novels include Calendar of Regrets, Head in Flames, Anxious Pleasures: After Kafka, and Nietzsche’s Kisses. His short stories, essays, poems, and reviews have appeared in hundreds of journals, magazines, and anthologies, including Conjunctions, Fiction International, Iowa Review, Village Voice, BOMB, and Best American Non-Required Reading. Olsen is an N.E.A. fellowship and Pushcart prize recipient, and former governor-appointed Idaho Writer-in-Residence. His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award.
Eric Dean Rasmussen - 21.04.2011 - 10:36
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10:01
10:01 is the complementary and complimentary hypermedia version of Olsen's avant-pop novel 10:01 (Chiasmus, 2005) about what goes through the minds of the audience in an AMC theater at the Mall of America ten minutes and one second before the feature film commences.(Source: Author's description from Electronic Literature Collection, Volume One.)
Eric Dean Rasmussen - 21.04.2011 - 10:47
