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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 Unknown
The Unknown is a collaborative hypertext novel written during the turn of the millennium and principally concerning a book tour that takes on the excesses of a rock tour. Notorious for breaking the "comedy barrier" in electronic literature, The Unknown replaces the pretentious modernism and self-conciousness of previous hypertext works with a pretentious postmodernism and self-absorption that is more satirical in nature. It is an encyclopedic work and a unique record of a particular period in American history, the moment of irrational exuberance that preceded the dawn of the age of terror. With respect to design, The Unknown privileges old-fashioned writing more than fancy graphics, interface doodads, or sophisticated programming of any kind. By including several "lines" of content from a sickeningly decadent hypertext novel, documentary material, metafictional bullshit, correspondence, art projects, documentation of live readings, and a press kit, The Unknown attempts to destroy the contemporary literary culture by making institutions such as publishing houses, publicists, book reviews, and literary critics completely obsolete.
Eric Dean Rasmussen - 18.02.2011 - 19:39
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a show of hands
Author description: a show of hands presents the story of the sisters de la Palma as their lives draw them into the Immigration Reform marches of 2006 in Los Angeles. Out of those spontaneous political demonstrations comes a tale of a Mexican American family wrestling with love, loss, and the possibilities of political engagement. a show of hands is an evolution of the long-form hypertext genre that began with Michael Joyce's afternoon: a story. The Literatronica storytelling engine that hosts the story answers several of the "grand challenges" of literary hypertext, namely the prevalence of dead branches on the forking tree and the inability for readers to locate themselves within the content of the story. In contrast, Literatronica adapts around the reader's choices, rearranging the content so the reader will always encounter all of the text in an order optimized for narrative coherence.
Eric Dean Rasmussen - 21.02.2011 - 09:52
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Radio Salience
"Radio Salience" is an image-text-sound instrument with certain game-like features. The player (user? listener? reader?) watches an array of four image panels, showing component slices from various larger images. When any two slices match, slot-machine style, a click will initiate a poetastic moment. There is no score, so no way to win, lose, or escape. Radio is all.
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"I have known that which the Greeks do not know -- uncertainty" (Borges).
Just another entry in the Babylon Lottery, this project explores indeterminacy, accident, and resonance, taking as its muse the breathless voice of the airwaves, or radio. What did those Greeks know, anyway?
Some may ask, are we yet reading? Well, somebody had to, but in most cases they weren't human. No sirens were harmed, and no one is like to drown. Also, this is once again not a game. Though what you will see is certainly playable, there is no real contest, no score, no leveling. Let's play Twister, let's play Risk.
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Stuart Moulthrop - 20.06.2012 - 19:10
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Electronic Records at the National Archives
Electronic Records at the National Archives
Scott Rettberg - 12.01.2013 - 10:38
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Process-Intensive Literature
Process-Intensive Literature
Scott Rettberg - 12.01.2013 - 10:42
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International Electronic LIterature
International Electronic LIterature
Scott Rettberg - 12.01.2013 - 10:54
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Is the Future of Electronic Literature the Future of the Literary?
Is the Future of Electronic Literature the Future of the Literary?
Scott Rettberg - 12.01.2013 - 11:01
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Electronic Literature in the 21st Century
Electronic Literature in the 21st Century
Scott Rettberg - 12.01.2013 - 11:09
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Logozoa
Lo·go·zo·a n [fr. Gk logos word + zoia animals] (2005) 1 : word animals : textual organisms 2 : a phylum or subkingdom of linguistic entities that are represented in almost every kind of habitat and include aphorisms, anti-aphorisms, maxims, minims, unapologetic apothegms, neokoans, sayings, left-unsaids, shamelessly proverbialist word-grabs, epigrammatological disquisitions, lapidary confections, poemlets, gnomic microtales, instant fables, and other varieties of conceptual riffs
Words change everything. We create poems and stories to free the world from itself, to reveal the many feral faces of life. But ironically these liberating words are usually imprisoned on the page or computer screen. Out in the “real” world of day-to-day activity, we use words more bluntly. We put labels and signs on things to tame them—identify, categorize, explain, instruct, proclaim ownership. What if instead the labels could liberate the everyday world from the literal, proclaim rather than cover up the mysteries? What if they could become Logozoa—textual organisms that infest the literal with metaphor and give impetuous life and breath to meaning?
Adopt-A-Zoa
Scott Rettberg - 13.01.2013 - 00:23
