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1. The Unknown

   The Unknown is a collaborative hypertext novel written during the turn of the millennium and principally concerning a book tour that takes on the excesses of a rock tour. Notorious for breaking the "comedy barrier" in electronic literature, The Unknown replaces the pretentious modernism and self-conciousness of previous hypertext works with a pretentious postmodernism and self-absorption that is more satirical in nature. It is an encyclopedic work and a unique record of a particular period in American history, the moment of irrational exuberance that preceded the dawn of the age of terror. With respect to design, The Unknown privileges old-fashioned writing more than fancy graphics, interface doodads, or sophisticated programming of any kind. By including several "lines" of content from a sickeningly decadent hypertext novel, documentary material, metafictional bullshit, correspondence, art projects, documentation of live readings, and a press kit, The Unknown attempts to destroy the contemporary literary culture by making institutions such as publishing houses, publicists, book reviews, and literary critics completely obsolete.

   Eric Dean Rasmussen - 18.02.2011 - 19:39

2. White-Faced Bromeliads on 20 Hectares

   White-Faced Bromeliads on 20 Hectares is a JavaScript investigation of literary variants with a new text generated every ten seconds. Its goals are as follows. (1) To present a poetic evocation of the images, vocabulary, and sights of Costa Rica's language and natural ecosystems though poetic text and visuals. (2) To investigate the potential of literary variants. Thinking of poems where authors have vacillated between variant lines, Bromeliads offers two alternatives for each line of text thus, for an 8 line poem, offering 512 possible variants, exploring the multi-textual possibilities of literary variants. (3) It explores the richness of multiple languages. (4) It mines the possibilities of translation, code, and shifting digital textuality. Having variants regenerate every ten seconds provides poems that are not static, but dynamic; indeed one never finishes reading the same poem one began reading. This re-defines the concept of the literary object and offers a more challenging reading, both for the reader and for the writer in performance, than a static poem. The idea is to be able to read as if surfing across multiple textual possibilities.

   Eric Dean Rasmussen - 28.04.2011 - 10:42

3. Down Time

   Down Time consists of twenty-one stories of the computer age, connected by shared characters, events and objects. A police officer, a terminal patient, a computer technician, and a high-school guidance counselor are just a few of the characters we follow as they try (and fail) to understand themselves, their lovers, and the strangers they meet. Interactive elements allow readers to create their own paths through different stories, revealing new correspondences and connections.

   (Source: Eastgate catalog description)

   Down Time consists of a set of twenty-one short fables named for, and metaphorically based on, computer jargon. In these stories a couple of dozen characters from many walks of life in a mythical Silicon Valley move and interact in complex ways through one another's lives.

   Jill Walker Rettberg - 27.07.2011 - 16:05

4. Winchester's Nightmare

   Author's description:

   Winchester's Nightmare is a work in Inform, premiered at Digital Arts and Culture '99 on October 29 in Atlanta. In its "hardback" form, it is a novel-length interactive fiction which includes a computer running software: a novel machine. The work consists of a primitive portable computer running this cybertext in the literary fiction genre, with a text-adventure interface. Ten hardbacks were manufactured for sale;some are still available. The softback, available free, contains the entire text of the hardback edition.

   Meri Alexandra Raita - 08.09.2011 - 21:25

5. [raveling]

   Mary Flanagan, State University of New York, Buffalo (USA)
   "[raveling]"

   [raveling] is a poetry performance piece for machines and human about memory and communication which posits verbal communication and text as iterative rituals that can mutate and change over time, distance, and repetition.

   Prior to the piece I produced a poem with my computer. This performance was a stream-of-consciousness spoken word event and was translated by the machine. My computer synthesized the words it recognized and I saved these words into a rough poem.

   In performance I read this synthesized computer/human poem to the public and to computer #1. This first computer/performer will listen to the poem and after listening, read back the composition as it recognized aloud to the audience and to the second computer/performer. The second computer/performer will listen to the poem composed by the first computer and read back the poem it recognized aloud to the audience. Each computer and human has its own voice and vocal qualities including timbre, speed, etc. They work together to bring meaning to the piece.

   Scott Rettberg - 19.01.2013 - 12:58

6. v i r a l p o e t i c s

   Some writers and theorists postulate that the most important literary art in the future will be translation. I believe that this translation is not simply between different global languages, for example, but between different manifestations of all expressive form, with a redefinition of what the expressive and the aesthetic fundamentally is. Translations: data into the verbal, the verbal into the visual, the visual into the audible, the audible into the tactile.

   The theory and practice of poetry, concerning itself with such fundamental questions as what poetry is, what it does, and how it should be composed and "written," is known as poetics. Here I am concerned with the poetics of the computer-how form is transmutable, how tasks are multiple and fluid, and how to create with a machine that was intended primarily to number crunch. To this end, I am creating a virus which will explore a workstations architecture and will create a poetics of the computer as its own autonomous object, with guest data from users such as you or me.

   Scott Rettberg - 19.01.2013 - 15:24