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  1. Diagrams Series 6: 6.4 and 6.10

    Diagrams Series 6 is the latest in a life-long series of Diagram Poems, the earliest experimentations for which began in 1968. Although I have been making interactive works since 1988, Diagrams Series 6 is actually my first work written in a fully interactive way: from beginning to end in one interactive environment where the word object is playable at every stage of its development, from temporary unassembled scrap all the way to its final location in a finished piece. This environment is part of an ongoing project which I call Hypertext in the Open Air, implemented in a programming system called Squeak. It allows the works to be played on all popular computing platforms, including Macintosh, BSD, Linux, and Windows. Diagrams Series 6, consisting of the works 6.4 and 6.10, strives to return to the intense diagrammicity of some of my earlier non-interactive works, Diagrams Series 4 and Diagrams Series 3. The diagram notation acts as a kind of external syntax, allowing word objects to carry interactivity deep inside the sentence. Interactivity, in turn, allows for juxtapositions to be opened so that the layers in cluster can occupy the same space and yet be legible.

    Patricia Tomaszek - 11.01.2011 - 12:42

  2. 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

  3. SKIN: A Mortal Work of Art

    A short story where each word was tattooed on the skin of a volunteer. These volunteers were the only people who saw the full text of the story. The website documents the work using photographs of tattooed words, a map showing where the words "live", and describing the concept: 'From this time on, participants will be known as "words". They are not understood as carriers or agents of the words they bear, but as their embodiments. As a result, injuries to the printed text, such as dermabrasion, laser surgery, tattoo cover work or the loss of body parts, will not be considered to alter the work. Only the death of words effaces them from the text. As words die the story will change; when the last word dies the story will also have died. The author will make every effort to attend the funerals of her words.'

    (Source for quoted text: Author's Project Announcement)

    Jill Walker Rettberg - 02.02.2011 - 22:07

  4. The Bubble Bath

    By clicking your way through a hypertext, you have the freedom of choice, or so many readers tend to believe. For those free spirits, The Bubble Bath has been built as an educational training camp that knows only one goal: to make the readers learn to love the fact that it is not they who drive the text; rather it is the text that is pulling them through the story by means of cheap tricks, false cursors, empty promises, invisible windows, and bad-mannered JavaScript codes that keep producing almost uncontrollable events. Netscape does not permit codes like these, nor does Opera or Apple systems; it is only Microsoft that conditions the online reading experience in such a fashion.

    (Source: Author's Description, Electronic Literature Collection 2

    Eric Dean Rasmussen - 21.02.2011 - 14:15

  5. Pieces of Herself

    Pieces of Herself is an exploration of feminine embodiment and identity in relationship to public and private space. Using a drag-and-drop game interface, viewers scroll through familiar environments (e.g., domestic, outdoor, work) to collect metaphorical "pieces" of the self and arrange them in compositions inside the body. As each piece enters the body, it triggers audio clips from interviews with women, music loops, and sound effects, resulting in a layered narrative. The project, which was inspired by Elizabeth Grosz's theories about embodiment, comments on social inscription of the body. The environments are composites of more than 400 photographs; the pieces include 40 vector drawings, and the audio clips include segments from interviews with 10 women.

    (Source: Author's description from Electronic Literature Collection, Volume Two)

    Eric Dean Rasmussen - 22.02.2011 - 17:26

  6. Star Wars, One Letter at a Time

    A retelling of the classic story one letter at a time. If fans can't get into the mind of Star Wars creator George Lucas, why not get into his typewriter? Taking us back before the days of the 300 baud modem, Stefans's piece brings each character in the Star Wars cast steadily before the eyes of the viewer and asks that we read — or at least try to read — in a new, unusual way. The sound effect at the end of every line adds a touch of "bell" lettrism.
    (Source: Electronic Literature Collection, Vol. 1)

    Patricia Tomaszek - 24.02.2011 - 17:14

  7. The Cape

    The Cape is a short work that engages the history of visual print-based authority by combining impersonal, government-created images with a purportedly personal story. Carpenter animates decades-old black-and-white photographs, illustrations, and maps, adding to these a few laconic caption-sized texts to extend an exploration of "place" that digital space evokes.(Source: Electronic Literature Collection, Vol. 1)

    J. R. Carpenter - 04.03.2011 - 22:12

  8. Ask Me for the Moon: Working Nights in Waikiki

    Brief poem presented as text slowly moving on the screen, accompanied by a white skyline of Waikiki on a black screen. Later, moon-blue images of hotel signs invite clicks that bring forth further reflections on the nighttime work of those who tend the tourists.

    Editorial statement from Electronic Literature Collection:

    John David Zuern’s Ask Me For the Moon is a digital poem created in Adobe Flash using juxtaposed images, words, and sounds, to create the feeling of the labor behind the scenes at a Hawaii resort.

    The images and colors (black, white, and turquoise dominate) paint a picture of Waikiki that is emphasized in Zuern’s notes on the piece, which observe that at the time the piece was made there was approximately one worker for every two and a half visitors to Waikiki. The text of the piece plays over the faded gray landscape of the island, while the moving pictures depict fragments of labor moving through like waves along the shore.

    The visual poetics serve as a poignant reminder of how much work is done at night, out of sight of the tourists who swarm the island.

    Jill Walker Rettberg - 24.03.2011 - 22:25

  9. The Uninvited

    The Uninvited was originally written and developed in the late 90s as an interactive hybrid narrative formatted for presentation on CD-ROM. It was never publicly shown. In 2003, it was reformatted as a stand alone video. The Uninvited was included in the traveling exhibition, Art AIDS America, curated by Jonathan Katz and Rock Hushca.

    (Source: Artist's Statement)

    One of the video experiments in Lemcke’s series Light F/X.

    Jill Walker Rettberg - 25.03.2011 - 15:20

  10. Amor de Clarice

    Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

    Scott Rettberg - 15.04.2011 - 12:04

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