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1. its name was Penelope

   The generative hyperfiction its name was Penelope is a collection of memories in which a woman photographer recollects the details of her life.

   Like a photos in a photo album, each lexia represents a picture from the narrator's memory, so that the work is the equivalent of a pack of small paintings or photographs that the computer continuously shuffles. The reader sees things as she sees them and observes her memories come and go in a natural, yet nonsequential manner that creates a constantly changing order -- like the weaving and reweaving of Penelopeia's web.

   Begun in 1988, the work was exhibited in a computer-mediated artists book version at the Richmond Art Center in Richmond, California in 1989. It has been re-created through the years. Four versions have been identified by Dene Grigar, in Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media: 

   Version 1.0: "The exhibition version." Created in 1989 with Malloy's own generative hypertext authoring system, Narrabase II, in BASIC on a 3.5-inch floppy disk

   Eric Dean Rasmussen - 24.02.2011 - 09:30

2. ACITEOP. Disfunciones poéticas del lenguaje.

   Roman Jakobson defined the poetic function of language as being governed by principles of selection and order. Under this vision the poet is in charge of selecting and organising words in a particular way in order to achieve a poetic effect.

   ACITEOP is a programme that groups together different experimental tools used for constructing poetic narratives, both textual and visual, through the deconstruction of the poetic function of language using different algorithms.

   The result, which is different with each reading or interaction, is both a deconstructed text and a brand new piece of work generated from that same process of deconstruction.

   This first version is a simple example of the programme that creates a narrative based on text, sound and images, which begins with the deconstruction of the poem "Between What I See and What I Say" by Octavio Paz, who dedicated the poem to the Russian linguist Roman Jakobson after his death.

   Pelayo - 19.05.2011 - 13:34

3. Substratum

   “Substratum” is an audiovisual artwork and the first in a series of collaborations by artist-composer duo, Alison Clifford and Graeme Truslove. This collaboration combines both of their artistic practices in an attempt to explore the space “between” abstract sound and image. Truslove’s work is typically concerned with exploring the space between acoustic and electro-acoustic sound, and between improvised and fixed forms. The audio in “Substratum” is devised from samples of bowed notes performed on a double bass, multiplied and arranged into rich, deeply layered textures by digital montage processes and computer algorithms. Clifford’s artistic practice is concerned with the process of translating between different forms of visual media, exploring what is lost or gained through such interpretation. For “Substratum”, she developed computer algorithms that “translate” samples from still photographic light paintings into animated fragments. She then sculpts the fragments into multi-layered moving image works that interpret the deep textures of the audio, creating an immersive audiovisual experience.

   Meri Alexandra Raita - 18.06.2012 - 19:17

4. Palimpsest

   “Palimpsest” is an audiovisual work exploring the space between sound and image through collaboration. Two distinct narratives, audio and visual, collide to find alternative paths and perspectives around a virtual light sculpture. The piece reinterprets one of a series of photographic light paintings taken during a drive at night [see image 1]. The photographs were experiments: improvisations with long exposures, motion and gesture. As images in themselves however, the collaborators found them to be engaging both visually and conceptually. Visually they bring to mind the poetic: the camera has captured ethereal light trails drawn by the motions of passing traffic in mid-air, giving them an almost sculptural quality. They suggest contours, energies, volumes and spaces that are open to further exploration and interpretation. Conceptually, their contradictory nature seems to suggest ideas of the interstitial - the space or place in-between things - or what Duchamp termed the “infrathin”. The light-forms captured in the image, exist in-between the real and the virtual, brought together in a moment by the camera.

   Meri Alexandra Raita - 18.06.2012 - 19:22