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Birds Singing Other Birds' Songs
Author description: This work originated when I was invited to exhibit at the Medway Galleries. The most interesting features of the gallery were its high ceiling and three large windows, which I was inspired to use in the work. I wanted to explore kinetic typography, the animation of images and sound. I came across a transcription of birds' songs in the book The Thinking Ear. Suddenly, I was drawn to this transcription because of the similarities with the phonemes I was using in my other works. The repetitive aspect of letters and what looked like syllables reminded me of sound poems. So, I decided to ask some singers to sing their own interpretation of the transcriptions of the songs, in order to play with the interpretative process of these translations. Having been translated first from birds' song into linguistic interpretations, now the birdsongs would be re-interpreted by the human voice. The sounds that emerged from this study were later attached to the animated birds in the shape of calligrams. The outlines and letters of the text birds corresponded to the transcribed sound made by each bird, so making the birds sing their own visual-textual compositions.
Eric Dean Rasmussen - 17.02.2011 - 11:35
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Nio
The main part of the Nio project is an interactive audio piece done in Shockwave. It consists of two "verses." In verse 1, the wreader layers audio and lettristic animations. In verse 2, the wreader both layers and sequences them. Verse 2 is a little sequencer. The Nio project has other parts such as the source code (requires Macromedia Director 8+); the (Shockwave) Song Shapes, which are audioless and use the same animations as in Nio; an essay on the poetics of interactive audio for the web; an essay on audio programming in Director, which is now part of the Macromedia documentation; still visual poetry drawn from onion skins of Nio animations; and an interview by Randy Adams with me about Nio.
(Source: Author's abstract: Electronic Literature Collection, Volume 1)
Scott Rettberg - 26.02.2011 - 23:06
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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
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Chroma
Chroma is an interactive serial that examines issues of racial identity in virtual environments through a tightly choreographed combination of graphics, voice and music. Three digital explorers are tasked by their mentor with the creation of avatars that will enable exploration of a newly rediscovered "natural cyberspace" humans long ago lost the ability to access. Conflict arises when one character pauses to question the wisdom of blindly forging ahead with human representation in the digital world. Interactive real-time animations are used to represent the thoughts and feelings of the main characters, and respond to the user in intimate ways that help to illuminate the unfolding story while building emotional connections with its central players.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 15.04.2011 - 13:45
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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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Cruising
On one level, Cruising is an excited oral recitation of a teenager's favorite pastime in small town Wisconsin, racing up and down the main drag of Main Street looking to make connections, wanting love. But by merging the linear aspect of the sound recording with an interactive component that demands a degree of control, Cruising reinforces the spatial and temporal themes of the poem by requiring the user to learn how to “drive” the text. A new user must first struggle with gaining control of the speed, the direction, and the scale in order to follow the textual path of the narrative. When the text on the screen and the spoken words are made to coincide, the rush of the image sequence is reduced to a slow ongoing loop of still frames. The viewer moves between reading text and experiencing a filmic flow of images — but cannot exactly have both at the same time. In this way, the work seeks to highlight the materiality of text, film, and interface.
(Souce: Authors' description from Electronic Literature Collection, Volume One)
Scott Rettberg - 22.04.2011 - 13:43
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Blinding Lights
This multimedia poem is about how saturated we have become with media coverage and how damaging that is. De Barros’ approach in this work is to also saturate us with sound, images, formatting, and color to make us realize the excessive amount of information we are constantly receiving. Each of the four parts of the poem uses multiple layers of color, still and moving images and text, looping and single-playing sounds, and responsive elements. Moving the pointer over the image of a man in the first part of the poem, for example, triggers a sequence of images that show how overloaded he is with visual information, to the extent that he needs to blindfold himself or avert his eyes. The narrative in the second part, and the images and words in the third and fourth parts all portray pain, damage, scarring, even murder, to demonstrate how damaged we have all become. (Source: Leonardo Flores, I ♥ E-Poetry)
Kristine Turøy - 24.08.2012 - 11:03
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Dear e.e.
This whimsical poem invokes one of the masters of idiosyncratic poetry, E. E. Cummings. Cummings used capitalization, spacing, punctuation, letters, and words in very unconventional ways to craft off-the-beaten-path poetic experiences. The speaker’s dream taps into this idea, by having e.e. rearrange the furniture in counter-intuitive ways. A simple interface for navigation from side to side presents different items of furniture, which reveal texts and brief animations towards new images when the reader places the pointer over them. Perhaps this is a metaphor for Cummings’ poetics, who rearranged letters and words to lead to new perceptions of ordinary things.
(Source: Leonardo Flores, in I ♥ E-Poetry)
Scott Rettberg - 18.10.2012 - 13:51
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Hey Now
Hey Now is a collaborative experiment in New Media Poetry. It is minimally "interactive", requiring the reader/viewer to click on the pacing man whenever he appears. The piece began as an idea: following the artist Christo's work ("wrapped" objects like Running Fence, Wrapped Pont Neuf, etc.) -- what would wrapped language look be like? How would it look or sound? Our initial discussions revolved around thinking through the act of wrapping, covering or hiding language; the physical and metaphorical transformation of language while it is wrapped; the final act of unveiling language that has now acquired "full" or "new" meaning because it has been partially hidden.
Scott Rettberg - 15.01.2013 - 21:20
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Oppen Do Down
In the year 2000, Jim Andrews went through a significant retooling by shifting to Macromedia Director— an authoring tool that publishes content to the Web in Shockwave format, still easily accessible through its browser plugin. One of the benefits of Director was that it gave him a powerful set of tools to work with audio, allowing him to return to an early passion for radio and audio that led him to become a poet who engages media. “Oppen Do Down” is one of his sound-centered poems (what he calls “vismu”) and it is full of his voice: recorded, shaped, looped, attached to verbal objects, and presented to reader/listeners to select, combine, stack, and enjoy. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 14:58
