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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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The Mandrake Vehicles
The Mandrake Vehicles consists of three "vehicles," each one surfaced with a large text block concerning the biological development, folklore, occult ritual, magical association, and homeopathic usages of the mandrake plant. The surface text blocks can be read linearly from one to the next. However, each surface text also conceals a depth of two additional poems (as well as liquid layers, when the letters are in a transitional state). In each vehicle, both of these inner poems have technically been visible all along in the top layer, but remain undetected because of the presence of the other letters and characters. The inner poems of each vehicle are unearthed as letters drift off the surface of the poem and the remaining letters solidify into new poems. In addition to the relationships created between the contents of the three poems of each vehicle, relationships are also forged between words of the different layers that share the same letter(s). In the liquid layers, letters cast off scales of themselves which fall down the screen, colliding with other cast-off scales to form the detritus words, the trash cast off by the process.
Eric Dean Rasmussen - 21.02.2011 - 14:30
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88 Constellations for Wittgenstein (to be Played with the Left Hand)
Author description: 88 Constellations for Wittgenstein (to be played with the Left Hand) is an interactive, non-linear net.art piece that explores the life and philosophy of Ludwig Wittgenstein through a series of animated vignettes created in Flash. Each of the 88 sections corresponds to one of the 88 constellations in the night sky. Each constellation becomes a navigation device for the viewer to negotiate the associative relationships between these vignettes. As well, viewers can interact with each collaged animation using their left hand to trigger events from the computer keyboard (in homage to Ludwig Wittgenstein's brother Paul (a concert pianist who lost his right arm in WWI but continued his career performing piano works composed for the Left Hand). This work considers questions that Ludwig Wittgenstein pondered in his career as a philosopher: logic, language, the nature of thinking, and the limits of knowledge -- all in relation to our contemporary digital world.
Eric Dean Rasmussen - 21.02.2011 - 16:02
