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Screen
Screen is an alternative literary game created in the "Cave," a room-sized virtual reality display. It begins with reading and listening. Texts, presenting moments of memory as a virtual experience, appear on the Cave's walls, surrounding the reader. Then words begin to come loose. The reader finds she can knock them back with her hand, and the experience becomes a kind of play - as well-known game mechanics are given new form through bodily interaction with text. At the same time, the language of the text, together with the uncanny experience of touching words, creates an experience that does not settle easily into the usual ways of thinking about gameplay or VR. Words peel faster and faster; struck words don't always return to where they came from; and words with nowhere to go can break apart. Eventually, when too many are off the wall, the rest peel loose, swirl around the reader, and collapse. Playing "better" and faster keeps this at bay, but longer play sessions also work the memory text into greater disorder through misplacements and neologisms. (Source: authors' description.)
Scott Rettberg - 15.04.2011 - 15:56
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Up Against the Screen Mother Fuckers
The poem is an abstract rendition of the rotten silk that fetters us people to these our awful screens. The graphics were generated in the CAVE writing text editor, by taking an ill-performing video screen capture of a spectral tube of "O"s in the editor's desktop preview mode. The audio was separately generated by improvisations into a Max/MSP patch. The title is after the late 60s anarchist affinity group, Up Against the Wall Mother Fuckers. I was inspired by their dramatic final exploit: cutting open the fences at Woodstock. The phrase Up Against the Screen Mother Fuckers started as the title for a CAVE piece, in which one thousand units of the people would enter the CAVE and break through its 4 screens to the vestibule holding the mirrors behind it.
The poem was composed between Paris and Cork, 1-5 July 2007. The media was generated at Brown University, October 2007 to June 2008. First screened in Providence at Couscous, organized by Mairéad Byrne
(Source: Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 14:31
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Torus
This video provides limited documentation of the
“Torus” project. Unfortunately, however, it does not give a good
impression of the reader’s experience of Torus as an instance of
immersive VR. Constrained by the requirements of Cave technicians, the
video is shot from a single point of view and without the stereo imaging
that would usually be in operation. Moreover, the camera’s point of
view is different and significantly distant from the reader’s point of
view and this compromises the immersive illusion. For example, and most
obviously, planes of text which should appear to extend behind the
reader and out through the screen appear to be folded back away from
both the camera’s and the reader’s point of view. Please bear this in
mind when reviewing this material.A pdf version of the interview is in the Brown Digital Repository (which is supposed to guarantee its links for as long as the institution lasts):
https://repository.library.brown.edu/studio/item/bdr:383674/Rita Raley - 05.05.2011 - 15:06
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lens
lens began as a study piece relating to work-in-progress for the four-wall VR Cave at Brown University. It demonstrates how literal materiality - the surfaces of letters composing the texts of 'lens' itself - can, in a simple illusory 3D space, subvert our familiar experiences and assumptions concerning surfaces of inscription. For example, by making a letter large enough within the programmatic structures of lens, the region of colour defining the letter-shape becomes an entirely different type of surface - it becomes a surface of inscription for other texts that had been perceived 'underlying' it. In doing so, literal surfaces subvert our experience of space and relative distance. Surfaces that were 'in front' now form surfaces for other texts. They may even become other 'spaces' within which writing drifts. Letters both delineate and redefine spatial relationships.
Scott Rettberg - 23.05.2011 - 13:53
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Canticle
"Canticle" was written for Brown University's CAVE immersive virtual reality environment. Like a concerto, it was composed in three movements and arranged for collaborative performance between a solo user and programmed VR environment. In "Canticle", The CAVE system and its user operate in concert: rendering the world through cooperation and opposition. The tone of "Canticle" plays upon the spectacle of VR by inducing an aesthetic environment that is overly saturated despite its basic composition of greyscale letterforms. Evocative text and audio were used to assist this effect: "The Song of Solomon" and Nico Muhly's MotherTongue. A study of "The Song" resonated with the project's themes: the seduction of spectacle and awareness of a physical body within immersive spaces of illusion. Movements were written in response to spectacles that are native to the CAVE. Description of each movement refers to the specific quality of spectacle it explores: periphery, reactivity, stereoscopy, interface, depth or immersion.
Stig Andreassen - 20.03.2012 - 15:12
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Distributed Matters: Production of Presence and the Augmented Textuality of VR
The paper proposes a descriptive (i.e., non-hermeneutical/presence-driven) reading of the virtual reality work Screen by Noah Wardrip-Fruin et al. (2002) designed for Brown University’s CAVE. Because of the non-triviality of its demands, one might argue that Screen is as much about its theme (memory/forgetting) as it is a self-referential study on VR as a literary medium. In this context, seemingly incompatible notions such as those of "flickering signifiers" (Hayles, 1999) and “presence effects” (Gumbrecht, 2004) can operate as coextensive tropes of analysis. Are we to speak of a new phenomenology of language wherein processing protocols precede literary semiosis? Does proprioceptive awareness of the linguistic mark not also trigger a concurrent semiotic reaction obligatorily leading to an act of interpretation?
Eric Dean Rasmussen - 07.05.2012 - 12:17
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cave.cubes
cave.cubes, originally developed for the Brown CAVE environment, employs virtual physics and three-dimensional geometries to define writerly constraints in embodied virtual space. Like the grammars employed in natural language, 3-D geometries support specific types of recombination. By leveraging this (virtual) physical grammar within a dynamic physics simulation, a set of organic constraints emerge to challenge the writer in embodied literary space.
The Brown CAVE is an 8x8x8ft room in which high-resolution stereo images are projected onto the walls & the floor & are synchronized with shutter glasses to provide the illusion of a fully three-dimensional physical space. A magnetic tracking system monitors user movements, allowing natural interactions with the virtual environment.
Source: author's description
Patricia Tomaszek - 03.10.2012 - 14:33
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Cavewriting: Spatial Hypertext Authoring System
In experimental hypertext fiction workshops at Brown University, undergraduate writers work with programmers to create interactive literary experiences in immersive virtual reality. To involve the writer more directly in the process of implementation, we have created CaveWriting: spatial hypertext authoring system. Authors can manipulate a graphical front-end to position text, multimedia, and 3D models within virtual space, apply special effects, and create hyperlinks which initiate theatrical events. The result can be previewed at any time inside a desktop window. This talk will cover the past and present of cavewriting at Brown and its future at UIUC, UCSD, and beyond.
Jill Walker Rettberg - 07.01.2013 - 22:36
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Snowblind
This collaborative poem was written for the CAVE at Brown University and is a relatively simple yet compelling argument for this kind of writing, initiated by Robert Coover in 2002. Other CAVE works reviewed in this blog have published video documentation of a performance, which is a far cry from the real deal, but considering it takes time and money to travel to Brown University to use their CAVE (and a prohibitive amount of money to build one), this will do. Soderman and Carter have gone a step further by providing access to the Cave Text Editor and the source files for readers to explore the work and run a preview of it.
Hannelen Leirvåg - 28.02.2013 - 13:23
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Space for writing: a sidelong glance at the history of immersive spatial hypertext
The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:42
