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1. Kissing the Steak: The Poetry of Text Generators

   Syntext, developed by Pedro Barbosa and Abílio Cavalheiro in the early 90s (later partially re-versioned on the World Wide Web), is a collection of fifteen computer programs from the 70s, 80s, and 90s that automatically generate various styles of poetry in DOS. Though the texts made by each of the programs are thematically unrelated, through these pioneering works by Barbosa, Nanni Balestrini, Marcel Bénabou, and others, each of the predominant fundamental attributes of text-generators is clearly divulged. Syntext, despite being primitive on the surface, powerfully brings to light the expressive possibilities, versatility, and variation within permutation texts, and provides sufficient evidence upon which a typology of computer poems can be established.

   (Source: abstract of conference presentation)

   Eric Dean Rasmussen - 31.01.2011 - 15:28

2. Figurski at Findhorn on Acid

   Richard Holeton's Figurski at Findhorn on Acid is a hypertext novel released for Storyspace by Eastgate publishers in 2001. The story follows the main character Frank Figurski’s quest to acquire a legendary mechanical pig. As Alice Bell points out, this was one of the last major hypertext works created using Storyspace, as authors began to move to web-based tools and CD-ROM based platform became outmoded (150).

   Background:

   Holeton's hypertext work originated as an award-winning short story “Streleski on Findhorn on Acid" published in 1996 (Grigar et al). That same year, he took part in Robert Kendell's online writing class "Hypertext Poetry and Fiction" at the The New School for Social Research, where he reworked the print story into an electronic text. He produced a novel-length draft for his masters thesis at San Francisco State University; it was the first electronic thesis approved by SFU (Grigar et al). The "canonical" version of Figurski at Findhorn on Acid was released on CD-ROM by Eastgate publishers in 2001.

   Eric Dean Rasmussen - 02.02.2011 - 14:30

3. Retournement

   Retournement est une animation syntaxique de 1991. Ce n’est pas tant le mouvement des mots sur l’écran qui compte dans l’animation syntaxique, mais la modification syntaxique que ce mouvement entraîne. Ainsi, suivre les mots des yeux pour lire ou effectuer une lecture spatiale de l’écran « produit » des textes différents. La lecture pouvant à chaque instant basculer entre ces deux modes, le nombre de textes contenus dans ces quelques mots est indéterminé et il est impossible pour le lecteur de les construire tous à la lecture de l’animation. Il s’agit d’un type de générateur non algorithmique que seul un traitement spatio-temporel du langage permet et dont le lecteur est lui-même le moteur d’inférence. À certains moments de l’animation, le sens peut ainsi être perçu comme optimiste ou pessimiste selon la modalité de lecture ; un verbe peut même devenir son propre sujet, rendant la phrase performative. Tout cela dans un geste visuel temporel qui tient de la caresse souligné d’une improvisation au violon.

   Scott Rettberg - 02.02.2011 - 14:30

4. Le mange-texte

   Le Mange-Texte is a work by Jean-Marie Dutey that perfectly represents the esthetic of frustration. There are two versions of Le Mange-Texte: the original 1989 version (that was programmed and published in alire 0.1 and alire 1) and the 1994 version. When one starts to look at the black screen, squares appear, changing into the form of four letter words. The words gradually develop and the reader tries to decipher the letters in order to make sense of the unclear words (that can be read vertically, revealing the verses of the poem). The moment one tries to read the words in their proper context, the machine “eats” the text which transforms into different shapes. The color changes from blue to pink and instead of squares, one sees flowers, and the words change. Some words repeat, but the word “rose” (which can also be translated from original French into English as “pink”) appears, for example. Once again, the machine “eats” the words and the process repeats. It is difficult to read the text because the reader must try to distinguish the letters.

   Scott Rettberg - 02.02.2011 - 14:53

5. Endless Text: New Media Technologies in The Raw Shark Texts

   Since the digital revolution of the 1990’s, the ‘end’ of literature has been often proclaimed from both a utopian and apocalyptic perspective. While the former has imagined a release of the literary from the constraints of paper and print, in the animation of letters and words, the latter has lamented the end of reading and writing as ‘we’ know it. However, as clear as the opposition between the hopeful visions of theorists such as George Landow and the nostalgic lament of critics like Steven Birkerts may be, their respective stances are easily disclosed as two sides of the same coin: both the positive and negative presentations of the end of literature build on the subtext that literature ‘is’ something; an inside (a space, or a practice) that is either creatively challenged or threatened from the outside – as if it were a backward country or a country under threat, to be opened up and developed or protected respectively. This paper challenges such a distinction between inside and outside by reading ‘literature’ as an interface of other media technologies.

   Eric Dean Rasmussen - 02.02.2011 - 15:42

6. I mellom tiden

   I mellom tiden er et hypertekstuelt nettkunstverk bestående at statiske og dynamiske elementer, lyd, skrift, bilde, video og grafikk. Verket er sentrert rundt fire temaer; venner, alene, familie og elskere. Ved å traversere verket får leseren mulighet til å oppleve ulike hverdagslige aspekter i livet, på tvers av de fire temaene. Gjennom sampling og et samspill mellom temaer, stemninger, modaliteter, sjangrer og ulik grad av brukerstyring framstiller I mellom tiden en mangefasettert og kompleks estetikk, der ulike livsverdener interagerer med hverandre, der det virkelige møter det kunstige, det private møter det offentlige, og der det åpne møter det dunkle. [verkbeskrivelse av Hans-Kristian Rustad / ELINOR]

   Scott Rettberg - 02.02.2011 - 16:10

7. The ABCDESTRUCTIONOPQRXYZÅÄÖ

   Heldén's usual sophisticated visual language has here been cast aside in preference for a strictly simple HTML construction where texts, photographs and the urging to keep moving forwards drive the reading of this short work (next, next...). The work shows how digital techniques can allow for relatively simple arrangements of text and images that still belong in a digital environment.

   (Source: Maria Engberg, for ELINOR)

   Jill Walker Rettberg - 02.02.2011 - 21:16

8. Enter the Plains

   Heldén utforskar kartans möjligheter för litterär navigering med ett verk som kopplar texter till platser på den flygbildsliknande kartbild läsaren måste navigera. Genom att klicka på ’hotspots’ i bilden frammanas en text till vänster. Geografi och en känsla av platsen genomsyrar texterna som bygger upp en klaustrofobisk text där de öppna vidderna blir ett hot. De neutrala kartkoordinater och tidsangivelser som man normalt navigerar efter ställs jämte högst personliga berättelser, kanske handlar det om soldatens upplevelser av krig. Berättelserna är fragmentariska och låter oss bara ana vad som händer, vem som berättar.

   [Maria Engberg, ELINOR.]

   Jill Walker Rettberg - 02.02.2011 - 21:23

9. Distributed Narrative: Telling Stories Across Networks

   A new kind of narrative is emerging from the network: the distributed narrative. Distributed narratives don’t bring media together to make a total artwork. Distributed narratives explode the work altogether, sending fragments and shards across media, through the network and sometimes into the physical spaces that we live in. This paper begins an investigation into this new narrative trend, looking at how narrative is spun across the network and into our lives. NB: Published under author's maiden name: Jill Walker.

   Jill Walker Rettberg - 02.02.2011 - 21:54

10. Surrender Control

    The reader of this piece received SMSes over the course of 72 hours with instructions to do many strange things, thereby spreading the narrative into her or his physical surroundings. Invitations to sign up were both advertised on the web and distributed on unsigned fliers in London, thus combining physical and networked spaces. Here are some examples of messages sent, with the date and time they were sent out: 28. Write the word SORRY on your hand and leave it there until it fades. (21/11/01, 00:01) 29. Look at the stars. (21/11/01, 00:59) 30. Think about an ex-lover, naked and tied to a bed. (21/11/01, 10:00) 31. Call someone. Tell a lie. (21/11/01, 13:15) 32. Call them back. Admit that you lied but do not tell the truth about why. (21/11/01, 13:30) Surrender Control is not a narrative in the formal sense, but it may enact a narrative with the recipient of the text messages.

    Jill Walker Rettberg - 02.02.2011 - 22:00

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