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1. Chemical Landscapes Digital Tales

   Chemical Landscapes is a series of photograms by Mary Pinto. The photos suggest landscapes but are created entirely in the dark room, using only chemicals and a flashlight. For this project, I've written a series of "digital tales" suggested by the particular chemical landscape. I hope the relationship of language and narrative to the "tale" parallels the relationship of light and chemicals to the "landscape." The piece begins with a title page that serves as a navigation page. By clicking at various places on the page you're taken to one of the eight chemical landscapes. Once you arrive at a landscape, the digital tale fades in and then out, and you may click on the screen at any point to jump back to the navigation page. I have tried to time the fading in and out of the text so that it is almost impossible to read it all before it fades away. My hope is that the reader will recognize the necessity of jumping around in the text, picking up pieces of the tale to read and ignoring other pieces, thereby creating a different experience with each reading.

   Eric Dean Rasmussen - 19.04.2011 - 07:24

2. Sooth

   Sooth is a set of love poems interactively triggered phrase-by-phrase to fly in flocks over original video. Sounds associated with each phrase are mapped to audio which pans and volume shifts in space as the phrase flies. Easing equations are randomly shuffled to create a sense of behavior to each phrase. Text-code-video-audio all original and released under a Creative Commons 2.5 License. It was created while I was artist-in-residence at La Chambre Blanche web-lab in Quebec city. Bilingual: French-English in same interface.

   (Source: Author's description from the Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 12:46

3. synonymovie

   synonymovie generates a sequence of images based on a single word: a "movie" that develops algorithmically through a chain of semantic relations. Initially, synonymovie asks the user to introduce a word, which will be the "seed" (as in "random seed," a number used to initialize a pseudorandom number generator) from which the image sequence will unfold. The sequence starts by finding an image related to the word, using an on-line image search engine. Then, a synonym for the word is obtained from a Web-based synonym server, together with its corresponding image, and so forth. The "movie" will end when a word without synonyms (or related images) is found.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 13:07

4. This is how you will die

   A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 13:23

5. 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

6. WhereAbouts

   WhereAbouts is an interactive poem about urban life. It juxtaposes planning and order with movement and chaos. The neatly planned and perfectly ordered design of poetry in the form of short verses gives way to the busy ant-like rush of letters in the changing streets designed by the reader, as she drags around the "example" blocks as she pleases. The planned and recognizable city now disappears, and another city emerges, one composed of the bustle of the letters that inhabit it, even as they hurry to leave the screen.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 14:45

7. 10:01

   10:01 is the complementary and complimentary hypermedia version of Olsen's avant-pop novel 10:01 (Chiasmus, 2005) about what goes through the minds of the audience in an AMC theater at the Mall of America ten minutes and one second before the feature film commences.(Source: Author's description from Electronic Literature Collection, Volume One.)

   Eric Dean Rasmussen - 21.04.2011 - 10:47

8. Tao

   Tao

   Eric Dean Rasmussen - 21.04.2011 - 12:25

9. Cruising

   On one level, Cruising is an excited oral recitation of a teenager's favorite pastime in small town Wisconsin, racing up and down the main drag of Main Street looking to make connections, wanting love. But by merging the linear aspect of the sound recording with an interactive component that demands a degree of control, Cruising reinforces the spatial and temporal themes of the poem by requiring the user to learn how to “drive” the text. A new user must first struggle with gaining control of the speed, the direction, and the scale in order to follow the textual path of the narrative. When the text on the screen and the spoken words are made to coincide, the rush of the image sequence is reduced to a slow ongoing loop of still frames. The viewer moves between reading text and experiencing a filmic flow of images — but cannot exactly have both at the same time. In this way, the work seeks to highlight the materiality of text, film, and interface.

   (Souce: Authors' description from Electronic Literature Collection, Volume One)

   Scott Rettberg - 22.04.2011 - 13:43

10. wotclock

    wotclock is a QuickTime "speaking clock." This clock was originally developed for the TechnoPoetry Festival curated by Stephanie Strickland at the Georgia Institute of Technology in April 2002. It is based on material from What We Will, a broadband interactive drama produced by Giles Perring, Douglas Cape, myself, and others from 2001 on. The underlying concepts and algorithms are derived from a series of "speaking clocks" that I made in HyperCard from 1995 on. It should be stressed that the clock showcases Douglas Cape's superb panoramic photography for What We Will.

    (Source: Author description).

    Eric Dean Rasmussen - 26.04.2011 - 09:01

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