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1. Fibonacci's Daughter

   With Fibonacci's Daughter the challenge was to capture the Fibonacci precepts--elements of predictability in natural forms--in a narrative. His mathematical sequence of numbers and golden sector were sources for narrative shape, structural organization, and design motif. I wanted the story to have a sense of spiraling both in and out at the same time--disappearing at the center and diffusing at the margins. The structure is based on the Fibonacci golden mean; the spatial access is through a shopping mall that is a golden square. Backgrounds, images, and motifs are drawn from Fibonacci's work. The story has, as well, a shadow of Nathaniel Hawthorne's short story, "Rappacini's Daughter," in a certain altered perception of pattern. Borges lurks.

   (Source: Author's note at The New River)

   Scott Rettberg - 26.03.2011 - 09:11

2. Tokyo Garage

   A poetry generator for the imaginary city. Tokyo Garage is a remix of Nick Montfort's "Taroko Gorge" -- a nature poem generator built in javascript. Rettberg modified the code and substituted all of the language of Montfort's work to create this poetry generator, which plays with received stereotypes of the Tokyo metropolis and of urbanity in general. A machinimatic reading was prepared for the DAC 2009 conference, including a clown reading the poem to an imaginary audience.

   Scott Rettberg - 26.03.2011 - 12:26

3. Tristessa

   Tristessa is a narrative machine that generates short stories. Words and phrases are combined to produce a new story each time the program is run, but as you see when you read some of Tristessa's stories the structure remains the same.

   Jill Walker Rettberg - 27.03.2011 - 13:07

4. Bokstavlek

   Bokstavlek kan karakteriseres som et estetisk verktøy som gjør brukeren i stand til å leke med bokstaver og ord. Brukeren kan selv velge hvilke bokstaver som skal danne ord og/eller utgjøre en tekst (et dikt eller en (kort) fortelling). Tekstene som produseres av brukeren blir presentert i et fast visuelt miljø bestående av noen lyktestolper i et landskap. Brukerens tekster inngår som audio-visuelle og dynamiske elementer i dette miljøet. Telefonlinjen mellom to telefonstolper står som en sentral indikasjon på at ordene og teksten som blir produsert, kan plasseres på denne linjen. Dersom brukeren følger denne antydningen, blir hver enkelt bokstav på telefonlinjen ved faste intervall omdannet til fugler som flyr i en sløyfe før den igjen lander på telefonlinjen og blir til en bokstav. (Kilde: Hans Kristian Rustad for elinor.nu)

   Jill Walker Rettberg - 27.03.2011 - 13:28

5. The Death of a Factory

   A hypertextual, mulitmodal report on old, abandoned factories, and about the people who still work in the factory spaces. Through stories in text, spoken voice, music, other sounds, still images and moving images, we are shown how abandoned factories have become the basis of cultural production, often now functioning as cultural centres and attractions. This hypertext speaks in favour of protecting and repurposing old factory spaces that are threatened with demolition. The hypertext calls itself a report, but could also be connected to the genres of narrative and of documentary, digital visual art, digital movies, sound art and digital installation. (Source: description by Hans Kristian Rustad)

   Jill Walker Rettberg - 27.03.2011 - 14:53

6. 12 Easy Lessons to Better Time Travel

   A hypertext fiction with a chatbot presents the story of Barry Munz as a case study/cautionary tale as an illustration to the 12 Easy Lessons to Better Time Travel presented by the Drs. Phebson.

   Mark Marino - 28.03.2011 - 16:04

7. Labyrinth: the Rulebook without Game

   An ergodic Flash text exploring video game culture through the lens of playable manuals.

   How does one read this clever piece, which touches on so many genres, such as poetry, fiction, game, theory, game manual, and codework? It claims to be a manual for an absent game, a bottomless pit, and a labyrinth for readers to get lost, wondering if indeed the game has already begun. The reader inhabits a character from the outset, a 35 year old married man, who can take on different roles in games belonging to popular RPG and videogame genres: science fiction, spy thriller, fantasy, and labyrinth exploration. Most of the writing is in the tradition of game manual for these types of games (here’s an old favorite) which at their best help immerse the readers into the world of the game and can be more fun than the game itself. In the case of tabletop RPGs, like Dungeons & Dragons, the game is the rulebooks, and all it requires is players and some dice for the necessary randomizations— making them good recipients of the label “cardboard computers,” as Matthew Kirschenbaum has used for tabletop wargames.

   Mark Marino - 28.03.2011 - 16:12

8. Biennale.py

   Biennale.py

   Mark Marino - 28.03.2011 - 16:44

9. Uncle Roger

   In the spring of 1986, Judy Malloy was invited by video and performance art curator Carl Loeffler to go online and write on the seminal Art Com Electronic Network (ACEN) on The WELL where ACEN Datanet, an early online publication, would soon feature actual works of art, including works by John Cage, Jim Rosenberg, and Malloy's Uncle Roger. In August 1986, Malloy began writing and designing the interface for the hyperfictional narrative database, Uncle Roger. Originally this work was published as a series of three files on the Well. It has been described as a "database narrative", though it could equally be described as a hypertext fiction. Each node consists of a paragraph or two of text. Below the text is a list of links, each leading to a new node. Malloy describes the story thus: "Uncle Roger is a work of narrative poetry written in the tradition of Greek and Shakespearean comedy.

   Jill Walker Rettberg - 04.04.2011 - 20:31

10. Code Movie 1

    Code Movies are made with hex, ASCII, and binary codes extracted from JPG images. Saved as simple text, they are reworked and edited in Flash. They are part of a larger project I've been working on since 2004 (//**Code_UP). The submitted work (Code Movie 1) is made of hexa code. The project interrogates the role of the code in meaning construction and the new forms of translations that digital languages embody. It questions: Now that the Cybertext confuses itself with the notion of Place (a web address, for example) and that Image only reveals itself through a "hyperinscription" (a URL), can we think in a poetics of transcodification between media and file formats? Can we keep talking about "WYSIWYG" utopias? How does it affect our ways of reading, seeing, and perceiving?

    (Source: Author's description in the ELC 1)

    Scott Rettberg - 09.04.2011 - 16:11

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