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1. open.ended

   Author description: open.ended is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.

   (Source: Author description, ELC vol. 1).

   Eric Dean Rasmussen - 29.04.2011 - 10:01

2. Girls' Day Out

   This is a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem.
   (Source: Author description, ELC 1).

   from the ELD http://directory.eliterature.org/node/3943
   After opening the piece, there are three different links you can click on to read all parts of Kerry's work. The top link, located on the right side of the page is labeled as "poem." The next link is in the middle of the page on the left side and is labeled "author's note." The final link is centered on the bottom of the page and is labeled as "Shards."

   Eric Dean Rasmussen - 10.05.2011 - 13:09

3. Wasser

   In his “geopoetical” story Wasser [Water] (2004), Stefan Schemat integrates real places and landscapes into his narrative spaces. 13 Recipients, equipped with “augmented reality outfits,” a backpack with a notebook, a GPS device and headphones are sent through a town or a landscape on a one-hour walk; i.e., the recipient has to fulfill a mission under constraints of time. The concrete narrative sequence—i.e., the sequence in which the computer system connects the narrative fragments depending on the location—and the duration and speed of the narrative depend on the choice of the route the recipients take.

   (Source: Jörgen Schäfer, Reassembling the Literary, in Beyond the Screen)

    

   Scott Rettberg - 23.05.2011 - 11:41

4. Mondriaan

   This interactive installation permits participants to simply sketch out and edit compositions in the style of the great abstractionist Piet Mondrian.

   The developers describe it as follows: "Using our new patented infrared sensing technology on a rear-projected screen (in the same spirit as the Calder piece), this work permits participants to simply sketch out and edit compositions in the style of the great abstractionist Piet Mondrian. Create your own composition in 10 seconds!"

   Scott Rettberg - 23.05.2011 - 12:51

5. Shadows From Another Place

   Shadows from Another Place is a series of “transposed maps” using Global Positioning System coordinates, maps, city sites and the web to translate and represent the impact of political or cultural traumas – such as wars or shifts in borders and territorial boundaries – that take place in one location, upon another. Collapsing distinctions between “foreign” or “domestic,” these hybrid spaces erase the safety of geographic distance and portray the impact of political, social and cultural change in local terms/on local ground.

   San Francisco <-> Baghdad, the first in the series, maps the missile and bombs sites in Baghdad, Iraq from the first U.S. invasion in March, 2003, upon San Francisco, California, a city nicknamed by some of its residents, “Baghdad by the Bay.” Each mirrored site of impact in San Francisco is documented with photographs, maps and GPS coordinates, the same technology used by the miltary to target original sites in Baghdad.

   Scott Rettberg - 23.05.2011 - 16:27

6. What We Will

   (wot we will hv of wot we r smthing past)

   'What we Will' utilises the potential of QuickTime interactive movie formats, particularly its photographic panoramas. This is combined with live-recorded and composed soundscapes which are embedded in the navigable movies. Structuring the piece, there are further layers of dramatic, textual and literal art elements. There is also a more familiar exploration of dramatic potential through human characters, fragmentary personal histories, memories and secrets, all helping to construct a non-linear narrative and emotional structure. As we experience the 24-hour cycle of their day, we are uncertain as to whether any particular moment follows or, rather, proceeds what we have seen before.

   Scott Rettberg - 24.05.2011 - 21:34

7. of day, of night

   of day, of night is an experimental interactive narrative / hypertext/ electronic literature work produced in Macromedia Director 6.0 by Australian artist Megan Heyward that fuses moving image, literary, game and interactive aesthetics into interactive digital form. It received initial production funding of $76K AUD from the Australian Film Commission (now Screen Australia) in 1999 and was exhibited internationally from 2001 to 2013 and published by Eastgate Systems, Inc. in 2004. To date, it is the only interactive narrative/ hypertext developed by a writer from outside North America.

   The plot of the story involves a woman who has lost the ability to dream. She sets a series of creative tasks in order to start dreaming again; such as finding and collecting objects from various locations in the DAY (a street, market, river and café), imagining their fictional traces and histories, and rearranging the objects. As the user traverses the work, objects, memories and histories collide and create new meanings in the regained dream environment of NIGHT.

   Jill Walker Rettberg - 27.07.2011 - 15:32

8. Metablast

   In Metablast, Young-hae Chang Heavy Industries uses their well-established text-display methods to "perform" the entire text of the a discussion of an earlier work, 0perati0n Nuk0rea (2003), from the community blog Metafilter. A link to 0perati0n Nuk0rea had been posted to the front page of Metafilter on April 18, 2003, and the many comments that followed make up the text of Metablast.

   In 2004, Metablast itself would also be discussed on Metafilter.

   The work was published on Young-Hae Chang Heavy Industries' webpage in 2004 according to Internet Archive's Wayback Machine, and converted to video form somewhere between 2018-2021.

   Meri Alexandra Raita - 02.10.2011 - 12:03

9. ii — in the white darkness: about [the fragility of] memory

   Strasser and Coverley's visual poem is a multimedia meditation on the nature of memory. By choosing pulsing dots as if from behind a veil, the reader activates collages of photographs and ambient sounds, representing the process of trying to recover lost memories, which surface and fade in and out of intelligibility.

   Scott Rettberg - 06.10.2011 - 10:36

10. Oulipoems

    Oulipoems is a series of six interactive poetry Flash works, ranging from electronic poems, to games, to a tool for generating and writing poetry using the vocabulary of a variety of poets. The pieces are loosely based on the Oulipo movement in French literature, which focused on texts based on constraints (for instance, Perec's famous novel A Void, a lipogram in which the letter e does not appear) and also on mixtures of literature and mathematics.

    Eric Dean Rasmussen - 08.11.2011 - 16:25

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