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The Jew's Daughter
The Jew's Daughter is an interactive, non-linear, multivalent narrative, a storyspace that is unstable but nonetheless remains organically intact, progressively weaving itself together by way of subtle transformations on a single virtual page.
(Source: Authors' description from ELC 1.)
Patricia Tomaszek - 17.09.2010 - 21:56
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To Touch
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Patricia Tomaszek - 17.09.2010 - 22:09
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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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The Castle
interactive large scale outdoor environment with non-linear language engine
The Castle is a large scale interactive video projection designed for specific architectural sites. The title makes reference to Kafka's novel of the same name, the work taking as its subject the incomprehensible character of systems of administration and power. The work is composed of four large independently interactive figures, reminiscent of public sculptures on public buildings. It also uses a crude grammar engine to generate short statements, which reflect the activity of the figures and that of the viewers.
(Source: Artist's statement from the project site)
Simon Biggs - 21.09.2010 - 11:58
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Les 12 Travaux de l'Internaute / The 12 Labors of the Internet User
In this piece, the internet user is regarded as the Hercules of the Internet. Often, he has indeed the impression to have to achieve Herculean labours. It can be a question of blocking popups which keep coming when one would like to see them disappear (the Lernean Hydra), cleaning the inbox of its spam (the Augean Stables), driving away the advertising banners (the Stymphalian Birds) or retrieving specific information (the Belt of the Queen of the Amazons)... This work draws upon the mythology of everyday life. It does not consist in showing the tragedy of existence, but in transforming our daily activities into a myth. It is consequently a question of experiencing technology in an epic - but also humoristic - mode.
(Source: Author's description)
Serge Bouchardon - 21.09.2010 - 12:00
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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
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Galatea
Galatea is a work of interactive fiction set in an art gallery an undetermined amount of time in the future. The player takes on the role of an unnamed art critic examining works of personality referred to in the story as “animates.” Galatea is the name of one such animate however, unlike the other exhibits at the museum (which are forays into rudimentary artificial intelligence,) Galatea was a sculpted women who simply willed herself to life. The player must interact with Galatea through text commands until they get one of several endings.
Jill Walker Rettberg - 14.01.2011 - 12:57
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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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My Words / Mes Mots
"Your gestures make my words meaningful".
My Words was an ongoing collaborative project which explored the relationship between gesture and meaning in interactive writing.
In this online creation, an interface gave access to several words, each word corresponding to a short interactive scene. In each scene, it was not so much the animation but rather the interaction with the reader, the reader’s gestures, that made the words meaningful. The reader could thus experiment with the meaning of the words, or at least the one given to the words by the authors.
This creation was also an invitation to participate. Through a dedicated tutorial and interface, everyone is able to contribute by adding new scenes. The world of My Words is an expanding world. My Words are everyone’s words.
(Adapted from: Author's Statement)
Eric Dean Rasmussen - 21.01.2011 - 12:28
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Flight Paths: A Networked Novel
Flight Paths: a networked novel seeks to explore what happens when lives collide - the airplane stowaway and the suburban Londoner. A supermarket car park lies directly beneath the flight path into Heathrow Airport. On at least five separate occasions the bodies of young men - stowaways - have fallen from the sky and landed on or near this place. This project explores the lives of one stowaway and the woman whose car on which he lands. The authors create multimedia elements that illuminate the story while readers are invited to contribute texts, images, sounds, memories, ideas, and stories. The project grows and changes incrementally. There is a long history of electronic fiction works that include user-generated content. But there are very few fiction projects that from the earliest, research phase attempt to harness participatory media as well as multimedia content in the way that Flight Paths does.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 21.01.2011 - 18:28
