Search
The search found 14 results in 0.008 seconds.
Search results
-
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
-
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
-
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
-
The Mandrake Vehicles
The Mandrake Vehicles consists of three "vehicles," each one surfaced with a large text block concerning the biological development, folklore, occult ritual, magical association, and homeopathic usages of the mandrake plant. The surface text blocks can be read linearly from one to the next. However, each surface text also conceals a depth of two additional poems (as well as liquid layers, when the letters are in a transitional state). In each vehicle, both of these inner poems have technically been visible all along in the top layer, but remain undetected because of the presence of the other letters and characters. The inner poems of each vehicle are unearthed as letters drift off the surface of the poem and the remaining letters solidify into new poems. In addition to the relationships created between the contents of the three poems of each vehicle, relationships are also forged between words of the different layers that share the same letter(s). In the liquid layers, letters cast off scales of themselves which fall down the screen, colliding with other cast-off scales to form the detritus words, the trash cast off by the process.
Eric Dean Rasmussen - 21.02.2011 - 14:30
-
88 Constellations for Wittgenstein (to be Played with the Left Hand)
Author description: 88 Constellations for Wittgenstein (to be played with the Left Hand) is an interactive, non-linear net.art piece that explores the life and philosophy of Ludwig Wittgenstein through a series of animated vignettes created in Flash. Each of the 88 sections corresponds to one of the 88 constellations in the night sky. Each constellation becomes a navigation device for the viewer to negotiate the associative relationships between these vignettes. As well, viewers can interact with each collaged animation using their left hand to trigger events from the computer keyboard (in homage to Ludwig Wittgenstein's brother Paul (a concert pianist who lost his right arm in WWI but continued his career performing piano works composed for the Left Hand). This work considers questions that Ludwig Wittgenstein pondered in his career as a philosopher: logic, language, the nature of thinking, and the limits of knowledge -- all in relation to our contemporary digital world.
Eric Dean Rasmussen - 21.02.2011 - 16:02
-
Fitting the Pattern
Cutting through memories, pinning down facts, stitching fabrications, unpicking the past - an interactive, animated memoir, created in Flash, exploring aspects of my relationship with my dressmaking mother. Life’s mysteries are rarely uncovered by a logical, linear process of deduction. You arrive at answers, ideas, suspicions, intuitions… haphazardly in fragments. Over time you build the picture, piece by piece, shuffling and rearranging, until you start to see a pattern emerging. The structure of Fitting the Pattern attempts to replicate this experience; hence it is a memoir in pieces that the reader can explore, to some extent, in a non-linear fashion. There are certain parallels between my mother’s creative craft process and my own in new media; therefore the visual design of the piece is based on the aesthetics of sewing patterns. These similarities, as well as our differences, are embedded in the digital media and text, literally drawn out through animation and dramatized through interactivity.
Eric Dean Rasmussen - 02.03.2011 - 13:49
-
soundpoems
These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 08.03.2011 - 15:22
-
Stravinsky's Muse
"Stravinsky's Muse" is a flash-based hypertext that offers a lexical sphere as a set of dials for accessing the narrative via the semantic constructs in the mind of its protagonist, Stravinsky Jones. Each segment of narrative is complemented by a definition of one of the chosen terms in the form it takes in Jones' lexicon.
Mark Marino - 14.03.2011 - 22:49
-
Code Movie 1
Code Movies are made with hex, ASCII, and binary codes extracted from JPG images. Saved as simple text, they are reworked and edited in Flash. They are part of a larger project I've been working on since 2004 (//**Code_UP). The submitted work (Code Movie 1) is made of hexa code. The project interrogates the role of the code in meaning construction and the new forms of translations that digital languages embody. It questions: Now that the Cybertext confuses itself with the notion of Place (a web address, for example) and that Image only reveals itself through a "hyperinscription" (a URL), can we think in a poetics of transcodification between media and file formats? Can we keep talking about "WYSIWYG" utopias? How does it affect our ways of reading, seeing, and perceiving?
(Source: Author's description in the ELC 1)
Scott Rettberg - 09.04.2011 - 16:11
-
Amor de Clarice
Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.
Scott Rettberg - 15.04.2011 - 12:04
