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1. Great Wall of China

   The Great Wall of China is conceived for simultaneous realisation across media, including a Website (1995-96), a CD-ROM with portfolio of prints (1997-99) and an interactive installation (1999). The foundation of The Great Wall of China is a real-time interactive language machine. This uses the metaphor of the actual Great Wall of China as a navigational device. The system is capable of creating an endless stream of ever evolving and changing texts.

   Simon Biggs - 21.09.2010 - 11:32

2. Precession of the Equinoxes

   This work uses similar software to that used in Babel, another 3D multi-user internet piece by the artist. Viewers logged in to the work are confronted with a 3D visualisation of a space formed as a receding array of words. As the viewer moves the mouse around the screen they are able to navigate this 3D environment. If the viewer types a word on their keyboard then when they press the RETURN key that word will appear in their own 3D array (the white words). Continuing to do this will cause the words to cascade through the array. These words are also broadcast to all the other viewers logged on (along with the viewers mouse coordinates, allowing each viewers 3D location to be calculated) such that everybody can read what the viewer has written. All the viewers are thus able to see what all the other viewers, who are simultaneously logged onto the site, are seeing. The multiple 3D views of the word-space are montaged together into a single shared image, where the actions of any one viewer effects what all the other viewers see.

   Simon Biggs - 21.09.2010 - 11:37

3. Halo

   Halo is composed of four interactive video projections using very powerful high resolution video projectors and four computers with an infra-red remote visual sensing system for viewer interaction. On each screen is visible a number of figures. Each figure is individually interactive, with the audience and with each other. The piece uses object oriented and behavioural programming techniques.

   Each figure is individually interactive and the viewer is fully modelled within the interactive system. A gravity well forms around each viewer, attracting flying figures into their orbit. When the viewer approaches the screen the figures are 'pulled' down to earth, where instead of flying they walk in direct interaction with the viewer. A number of interactive texts using generative grammars, based on the textual works of William Blake, are visible on each screen.

   (Source: Project description from Biggs's site)

   A book about the work is available (essays by Jim McLellan, Sean Cubitt, Steven Bode and Stuart Jones) from Film + Video Umbrella

   Simon Biggs - 21.09.2010 - 12:00

4. ppg256 (Perl Poetry Generator in 256 Characters)

   Author description: ppg256-1, the first program in the ppg256 series, was Montfort's new year's poem for 2008. It is a Perl program that generates poems without recourse to any external dictionary, word list, or other data file. It was written, in part, to determine the essential elements of a poetry generator. The program itself is shorter than this description.

   (Description from the Electronic Literature Collection, volume 2)

   Eric Dean Rasmussen - 21.01.2011 - 18:52

5. List(en)ing Post

   Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.

   Eric Dean Rasmussen - 31.01.2011 - 12:04

6. Kissing the Steak: The Poetry of Text Generators

   Syntext, developed by Pedro Barbosa and Abílio Cavalheiro in the early 90s (later partially re-versioned on the World Wide Web), is a collection of fifteen computer programs from the 70s, 80s, and 90s that automatically generate various styles of poetry in DOS. Though the texts made by each of the programs are thematically unrelated, through these pioneering works by Barbosa, Nanni Balestrini, Marcel Bénabou, and others, each of the predominant fundamental attributes of text-generators is clearly divulged. Syntext, despite being primitive on the surface, powerfully brings to light the expressive possibilities, versatility, and variation within permutation texts, and provides sufficient evidence upon which a typology of computer poems can be established.

   (Source: abstract of conference presentation)

   Eric Dean Rasmussen - 31.01.2011 - 15:28

7. Translation

   Author description: Translation (version 5) investigates iterative procedural "movement" from one language to another. Translation developed from an earlier work, Overboard. Both pieces are examples of literal art in digital media that demonstrate an "ambient" time-based poetics. As it runs the same algorithms as Overboard, passages within translation may be in one of three states — surfacing, floating, or sinking. But they may also be in one of three language states, German, French, or English. If a passage drowns in one language it may surface in another. The main source text for translation is extracted from Walter Benjamin's early essay, "On Language as Such and on the Language of Man." (Trans. Edmund Jephcott and Kingsley Shorter. One-Way Street and Other Writings. 1979. London: Verso, 1997. 107-23.) Other texts from Proust may also, less frequently, surface in the original French, and one or other of the standard German and English translations of In Search of Lost Time. The generative music for translation was developed in collaboration with Giles Perring who did the composition, sound design, performance, and recording of the sung alphabets.

   Eric Dean Rasmussen - 08.02.2011 - 17:12

8. Book Unbound

   Abstract: “Book Unbound” is a “collocational cybertext,” a self-assembling poetic collage that can be read in two ways: either automatically in the “bound” mode, or in an “unbound” mode that allows readers to extract and recycle words from its recombinant text stream. The present version is a HyperCard stack (Mac only, HyperCard program not required) available for downloading. –Editor

   Post Modern Culture
   https://www.pomoculture.org/2013/09/21/book-unbound/
   Editor’s Note: “Book Unbound” is a HyperCard stack. The present version runs only on Apple Macintosh computers. Activate one of the links below to download a compressed, binary version of the stack (a self-extracting StuffIt archive). If you are using a correctly-configured graphical browser, the file should be converted and decompressed file automatically. If it does not, save the file, convert it with BinHex then double-click to launch the self-expanding archive. If you own a copy of HyperCard, download the stack only (120k). If you do not own HyperCard, download the stand-alone application (676k).

   Jill Walker Rettberg - 18.02.2011 - 15:16

9. After Parthenope

   After Parthenope is a generative variable fiction set in Naples, Italy. A man and a woman meet in a Naples caffetteria. They have a conversation recalling the origin myth of the city. What follows is the man's memories, and they are never the same twice. The story cycles after a time, offering new variations.

   Scott Rettberg - 05.04.2011 - 00:58

10. a show of hands

    Author description: a show of hands presents the story of the sisters de la Palma as their lives draw them into the Immigration Reform marches of 2006 in Los Angeles. Out of those spontaneous political demonstrations comes a tale of a Mexican American family wrestling with love, loss, and the possibilities of political engagement. a show of hands is an evolution of the long-form hypertext genre that began with Michael Joyce's afternoon: a story. The Literatronica storytelling engine that hosts the story answers several of the "grand challenges" of literary hypertext, namely the prevalence of dead branches on the forking tree and the inability for readers to locate themselves within the content of the story. In contrast, Literatronica adapts around the reader's choices, rearranging the content so the reader will always encounter all of the text in an order optimized for narrative coherence.

    Eric Dean Rasmussen - 21.02.2011 - 09:52

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