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Self Portrait(s) [as Other(s)]
Author description: Self Portrait(s) [as Other(s)] is a recombinant portrait and biography generator. The piece recombines the self-portraits of a dozen well-known painters as well as biographical text on each. Accordingly, the generated pictorial and textual portraits are no longer self portraits, but "selves" portraits, with subjects that are more than one. The piece deals with identity in an art-historical context, self-identity for any given artist, and identification as a process. There are over 120,000,000 possible recombinations.
Eric Dean Rasmussen - 24.02.2011 - 08:43
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its name was Penelope
The generative hyperfiction its name was Penelope is a collection of memories in which a woman photographer recollects the details of her life.
Like a photos in a photo album, each lexia represents a picture from the narrator's memory, so that the work is the equivalent of a pack of small paintings or photographs that the computer continuously shuffles. The reader sees things as she sees them and observes her memories come and go in a natural, yet nonsequential manner that creates a constantly changing order -- like the weaving and reweaving of Penelopeia's web.
Begun in 1988, the work was exhibited in a computer-mediated artists book version at the Richmond Art Center in Richmond, California in 1989. It has been re-created through the years. Four versions have been identified by Dene Grigar, in Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media:
Version 1.0: "The exhibition version." Created in 1989 with Malloy's own generative hypertext authoring system, Narrabase II, in BASIC on a 3.5-inch floppy disk
Eric Dean Rasmussen - 24.02.2011 - 09:30
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Stir Fry Texts
The Stir Fry Texts are interactive texts that twitch and change as you move the mouse over them. Each stir fry consists of n distinct texts. Each of the n texts is partitioned into t pieces. When you mouseover any of the t parts of a text, that part is replaced with the corresponding part of the next of the n texts. Each stir fry contains a graphic that, when clicked repeatedly, lets you cycle through the n texts. I did the programming of the stir frys and did the texts of the first couple. Later, "Log" was done in collaboration with Brian Lennon and "Blue Hyacinth" with Pauline Masurel. The project also includes two essays. "Stir Frys and Cut Ups" relates these forms, and "Material Combinatorium Supremum" discusses the combinatorial form of the stir frys. The stir fry texts are steeply combinatorial. I did the programming in DHTML. I am indebted to Marko Niemi for his upgrading of the programming in 2004. Now they run OK on both PC and Mac and most contemporary browsers on both platforms. (Source: Author description, ELC v.1)
Patricia Tomaszek - 24.02.2011 - 11:18
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Star Wars, One Letter at a Time
A retelling of the classic story one letter at a time. If fans can't get into the mind of Star Wars creator George Lucas, why not get into his typewriter? Taking us back before the days of the 300 baud modem, Stefans's piece brings each character in the Star Wars cast steadily before the eyes of the viewer and asks that we read — or at least try to read — in a new, unusual way. The sound effect at the end of every line adds a touch of "bell" lettrism.
(Source: Electronic Literature Collection, Vol. 1)Patricia Tomaszek - 24.02.2011 - 17:14
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windsound
John Cayley’s “windsound” is an algorithmic work presented as a 23-minute recording of a machine-generated reading of scrambled texts. The cinematic work presents a quicktime-video of white letters on a black screen, a text written by Cayley with a translation of the Chinese poem “Cadence: Like a Dream” by Qin Guan (1049-1100). As a sensory letter-by-letter performance, the work sequentially replaces letters on the screen, so that what starts as illegible text becomes readable as a narrative, and then again loses meaning in a jumble of letters. Cayley calls this technique “transliteral morphing: textual morphing based on letter replacements through a sequence of nodal texts.” Sequences of text appear within up to 15 lines on the same screen, thus presenting and automatically replacing a longer text on a digitally simulated single page-a concept Judd Morrissey also applies in "The Jew´s Daughter." Unlike Morrissey’s piece, Cayley’s doesn´t allow the user to interact with the work.
Patricia Tomaszek - 24.02.2011 - 17:19
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my body — a Wunderkammer
The author and artist Shelley Jackson has produced a corpus of work in print and electronic media that takes as its central focus the relationship between human identity and the body's constituent organs, fluids, connective tissues, and other parts. While her well-known Storyspace hypertext Patchwork Girl revisited the Frankenstein story from the viewpoint of a female monster, my body uses the HTML hypertext form to revitalize the memoir genre. As the reader selects elegantly drawn woodcut images of parts of the author's body, meditations and anecdotes associated with each body part are revealed.
(Source: Electronic Literature Collection, Volume One)
Patricia Tomaszek - 24.02.2011 - 17:39
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Rice
Rice is a hypertextual anthology of poems focusing on my experience as a Western tourist in Vietnam. Issues of colonialism, war, poverty, and cultural difference arise. Technically and aesthetically, Rice belongs to an early period of web-based poetry. It uses Shockwave, popup windows, and frames. (Source: Author description from ELC 1)
Eric Dean Rasmussen - 24.02.2011 - 19:11
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The Programming Era: Building Literary Networks Through Peer-to-Peer Review
A noted literary scholar, Mark McGurl, has dubbed the postwar period in American literary history “The Program Era.” This phrase alludes to the fact that after World-War II most American literary production occurred in and around creative writing programs. Today, electronic literature continues the trend of literature’s institutionalization within higher education systems. E-lit literalizes the concept of “program” fiction inasmuch as its authors must also be adept at coding and programming. Taking the systematic coupling of literary art and higher-educational institutions as a necessary given, what can we—i.e. the authors, artists, critics, coders, scholars, students, writers and readers thinking at the interface of these social systems—do to create environments in which e-lit can flourish?
Eric Dean Rasmussen - 25.02.2011 - 08:16
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Flukten fra språkfengselet
The article, published in Norwegian in Vagant and in English as "Escaping the Prison House of Language: New Media Essays in the Electronic Literature Collection, Volume 2" on the author's website, addresses the release of the Electronic Literature Collection, Volume 2, and several new media essays and documentaries published in the collection.
Scott Rettberg - 26.02.2011 - 16:06
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The Doll Games
The Doll Games is a hypertext project that documents a complex narrative game that Shelley and Pamela Jackson used to play when they were prepubescent girls, and frames that documentation in faux-academic discourse. In “sitting uneasily between” different styles of discourse, the work enlists the reader to differentiate between authoritative knowledge and play. Although the dolls in question are “things of childhood,” the project reveals that in the games the authors used to play with these dolls, one can find the roots of both Pamela and Shelley’s “grownup” lives: Shelley’s vocation as a fiction writer, and Pamela’s as a Berkeley-trained Ph.D. in Rhetoric. Throughout, the project plays with constructions of gender and of identity. This is a “true” story that places truth of all kinds in between those ironic question marks. The Doll Games is a network novel in the sense that it uses the network to construct narratives in a particularly novel way. The Doll Games is also consciously structured as a network document, and plays in an ironic fashion with its network context.
Scott Rettberg - 26.02.2011 - 16:24
