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The Dreamlife of Letters
A Flash animation, based on a text by Rachel Blau DuPlessis, that attempts to explore the ground between classic concrete poetry, avant-garde feminist practice, and "ambient" poetics (that's really just plain fun to watch).
(Source: Author's Description from ELC Vol. 1)
Patricia Tomaszek - 16.09.2010 - 16:54
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Lexia to Perplexia
Author description: Lexia to Perplexia is a deconstructive/grammatological examination of the "delivery machine." The text of the work falls into the gaps between theory and fiction. The work makes wide use of DHTML and JavaScript. At times its interactive features override the source text, leading to a fragmentary reading experience. In essence, the text does what it says: in that, certain theoretical attributes are not displayed as text but are incorporated into the functionality of the work. Additionally, Lexia to Perplexia explores new terms for the processes and phenomena of attachment. Terms such as "metastrophe" and "intertimacy" work as sparks within the piece and are meant to inspire further thought and exploration. There is also a play between the rigorous and the frivolous in this "exe.termination of terms." The Lexia to Perplexia interface is designed as a diagrammatic metaphor, emphasizing the local (user) and remote (server) poles of network attachment while exploring the "intertimate" hidden spaces of the process.
(Source: Author's description from Electronic LIterature Collection, Volume 1)
Patricia Tomaszek - 16.09.2010 - 17:11
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Book of Shadows
Interactive audio-visual artwork existing as a CD-ROM (published Ellipsis, London) and a website (1994). Book of Shadows has two components, a traditional book and a cd-rom. The book includes print versions of two works, 'Book of Shadows' and 'The Living Room', and essays covering Simon Biggs' videos (by Steven Bode), installations (Rudolf Frieling), and interactive works (Sean Cubitt). Rich in content and highly interactive, the CD-ROM is a showcase of Biggs' highly regarded interactive art, most of which was originated as large-scale computer-controlled installations. Where the original works reacted to the presence and actions of an audience within a gallery or public space, the user of the CD-ROM interacts through movement of the mouse. The works explore Biggs' preoccupations with metaphysics and identity though a series of compelling and arresting images and animations that are both aesthetically and technically fascinating.
(Source: Publisher's description)
Simon Biggs - 21.09.2010 - 11:29
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Alchemy
interactive laser disc installation with animated text and image
Simon Biggs - 21.09.2010 - 11:46
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abcdefghijklmnopqrstuvwxyz (Performance Work)
Piringer's work is made for live performance, integrating a vocal performance by the author which controls and interfaces with the movement of letters on the screen, patterned by programmed agents.
The author's description from his site is "abcdefghijklmnopqrstuvwxyz is an audiovisual voice performance. image and sound are created in real-time through custom written software that analyzes and captures the sound of my voice to create animated abstract visual text/sound-compositions. the autonomous movement and behaviour of visual element on the screen again influence the sound which creates an audiovisual feedback loop or an autopoetic live performance system.
using my voice as the interface and medium in a dynamic electronic environment takes the ideas of the early avantgarde sound and visual poets a step further: my custom written software makes it possible to generate unforeseen and vanishing abstract text/sound-compositions that are created on the spot while performing and are not meant to last.
Scott Rettberg - 21.01.2011 - 11:42
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IO (Kac)
Three-dimensional navigational poem in which the letters/numbers I and O appear as elements of an imaginary landscape. IO is "I" in Italian. In this piece it also stands for reconciled differences (one/zero, line/circle, etc.). The reader is invited to explore the space created by the stylized letters/numbers and experience it both as an abstract environment and as a visual text.
Scott Rettberg - 30.01.2011 - 23:38
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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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Faith
Faith is a kinetic poem that reveals itself in five successive states. Each new state is overlaid onto the previous one, incorporating the old text into the new. Each new state absorbs the previous one while at the same time engaging in an argument with it. The gradual textual unfolding is choreographed to music.
(Source: Author description.)
Eric Dean Rasmussen - 10.02.2011 - 14:29
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Nightingale's Playground
Andy Campbell and Judi Alston’s The Nightingale’s Playground is a digital fiction work that was created with Flash in 2010. The main character is Carl Robertson, who tries to figure out what has happened to his lost high-school friend Alex Nightingale. The piece leads the reader/player through a world experienced from Carl’s perspective. It consists of four individual parts, the first section “Consensus”, an interactive point- and click game that can be played online, downloadable “Consensus II” which transports the reader into a dark 3D flat with text snippets , the “Fieldwork book” is a browser based grungy sketchbook with puzzling notes and the last part is a PDF version of the story.
Eric Dean Rasmussen - 12.02.2011 - 18:43
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GRAMMATRON
Inspired by Derrida's Of Grammatology, Mark Amerika experiments in GRAMMATRON with narrative form in a networked environment. Amerika retells the Jewish Golem myth by adapting it into the culture of programmable media and remixing several genres of text into the story's hybridized style, including metafiction, hypertext, cyberpunk, and conceptual works affiliated with the Art+Language group.
Narrated from various authorial perspectives, the story introduces readers to Abe Golam, a pioneering Net artist who creates Grammatron, a writing machine. Endowed not with the Word (as in the original myth) but with forbidden data—a specially coded Nanoscript—the creature becomes a digital being that "contains all of the combinatory potential of all the writings." The Grammatron is the personification of the Golem, which is also a personification of Amerika the artist. While the Golem and its environment have been depicted in any number of literary adaptations and works, in GRAMMATRON, Mark Amerika creates a seemingly infinite, recombinant (text-)space in the electrosphere.
Eric Dean Rasmussen - 16.02.2011 - 15:42
