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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
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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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Birds Singing Other Birds' Songs
Author description: This work originated when I was invited to exhibit at the Medway Galleries. The most interesting features of the gallery were its high ceiling and three large windows, which I was inspired to use in the work. I wanted to explore kinetic typography, the animation of images and sound. I came across a transcription of birds' songs in the book The Thinking Ear. Suddenly, I was drawn to this transcription because of the similarities with the phonemes I was using in my other works. The repetitive aspect of letters and what looked like syllables reminded me of sound poems. So, I decided to ask some singers to sing their own interpretation of the transcriptions of the songs, in order to play with the interpretative process of these translations. Having been translated first from birds' song into linguistic interpretations, now the birdsongs would be re-interpreted by the human voice. The sounds that emerged from this study were later attached to the animated birds in the shape of calligrams. The outlines and letters of the text birds corresponded to the transcribed sound made by each bird, so making the birds sing their own visual-textual compositions.
Eric Dean Rasmussen - 17.02.2011 - 11:35
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Nio
The main part of the Nio project is an interactive audio piece done in Shockwave. It consists of two "verses." In verse 1, the wreader layers audio and lettristic animations. In verse 2, the wreader both layers and sequences them. Verse 2 is a little sequencer. The Nio project has other parts such as the source code (requires Macromedia Director 8+); the (Shockwave) Song Shapes, which are audioless and use the same animations as in Nio; an essay on the poetics of interactive audio for the web; an essay on audio programming in Director, which is now part of the Macromedia documentation; still visual poetry drawn from onion skins of Nio animations; and an interview by Randy Adams with me about Nio.
(Source: Author's abstract: Electronic Literature Collection, Volume 1)
Scott Rettberg - 26.02.2011 - 23:06
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The Set of U / La Série des U
The Set of U is a typical example of adaptive generation. It is an association of a combinatory generator of sound and a syntactical animation of text that changes its tempo according to the speed of the machine. So, it is not possible to synchronize the sound and the visual. But the reader often has the impression that the sound is designed for the visual process. This result is obtained by a programmed communication between the visual and the sound that uses programmed meta-rules in order to preserve the perceptive coherence. These meta-rules also create a new kind of non-algorithmic combinatory generator by focusing the attention at different moments of the reading. In this situation, the sense created by reading can vary slightly from one reading to another. The reader himself makes this combinatory by rereading. So, this work is interactive, not by managing input devices but through meta-rules. Meta-rules are not "technical rules," but the expression of a complex esthetical intention that lies in programming and can only be perceived by looking at the program.
Eric Dean Rasmussen - 28.04.2011 - 15:25
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Down Time
Down Time consists of twenty-one stories of the computer age, connected by shared characters, events and objects. A police officer, a terminal patient, a computer technician, and a high-school guidance counselor are just a few of the characters we follow as they try (and fail) to understand themselves, their lovers, and the strangers they meet. Interactive elements allow readers to create their own paths through different stories, revealing new correspondences and connections.
(Source: Eastgate catalog description)
Down Time consists of a set of twenty-one short fables named for, and metaphorically based on, computer jargon. In these stories a couple of dozen characters from many walks of life in a mythical Silicon Valley move and interact in complex ways through one another's lives.
Jill Walker Rettberg - 27.07.2011 - 16:05
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Ambulance: An Electronic Novel
Very little information about this work is available online. P. Sugarman writes that "Ambulance is about some Gen-Xers who run into a string of spectacularly bad luck involving a car accident and a serial killer disguised as an ambulance driver. One of the most effective elements here is the music sampling. The droning repetition of the musical phrases, over & over while you absorb slices of the story, gives the whole experience an obsessive, claustrophobic feeling." (http://www.streettech.com/bcp/BCPgraf/CyberCulture/ambulance.htm)
Jill Walker Rettberg - 27.07.2011 - 21:23
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The Last Day of Betty Nkomo
This 2005 piece distinguishes itself from most of YHCHI's earlier work in two ways: it is brief (about 2 minutes long) and it uses an Okinawan folk song (perhaps a version of "Asadoya Yunta") rather than jazz. This compelling story is perfectly synchronized to the music, powerfully narrating the thought process of a woman who seems to by dying on the floor, trying to get up, but unable to. The chords played on the sanshin set a regular tempo for the song and poem, but its heartbeat-like rhythm slows down into an abrupt silence at the end of the song, marking Betty Nkomos' death.
For a more detailed reading of this poem, read pgs. 157-161 of Giovanna Di Rosario's dissertation, "Electronic Poetry: Understanding Poetry in the Digital Environment."
(Source: Leonardo Flores, I ♥ E-Poetry)
Meri Alexandra Raita - 05.10.2011 - 13:51
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Car Wash
A kinetic poem reflecting on the death of the author's father that uses the car wash as a metaphor for passing between worlds.
Scott Rettberg - 30.10.2011 - 20:36
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Urbanalities
A mash-up of Dadaist technique and VJ stylings, this Flash movie is the product of an "antagonist remix" by babel vs. escha. Seven scenes provide enigmatic observations on the nature of contemporary life, on seeing and being seen, understanding and miscommunication, destruction and creation. The texts in the piece are generated randomly as the piece runs, so the reader's experience of the piece is never exactly the same twice.
(Description from Electronic Literature Collection, Volume 1.)
Eric Dean Rasmussen - 08.11.2011 - 16:38
