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1. Ex-foliations: Reading Machines and the Upgrade Path

   In Ex-foliations, Terry Harpold investigates paradoxes of reading’s backward glances in the theory and literature of the digital field. In original analyses of Vannevar Bush’s Memex and Ted Nelson’s Xanadu, and in innovative readings of early hypertext fictions by Michael Joyce and Shelley Jackson, Harpold asserts that we should return to these landmarks of new media scholarship with newly focused attention on questions of media obsolescence, changing user interface designs, and the mutability of reading. In these reading machines, Harpold proposes, we may detect traits of an unreadable surface—the real limit of the machines’ operations and of the reader’s memories—on which text and image are projected in the late age of print. (Source: Publisher's website.)

   Eric Dean Rasmussen - 24.02.2011 - 09:48

2. Critical Sections

   The Critical Sections interface enables you to sketch pieces of architectural and cinematic history, along with related commentary, onto virtual pages whose content and composition are under your control. The primary interface element is the "cluster".

   Eric Dean Rasmussen - 26.04.2012 - 16:30

3. Post Modern Object

   Post Modern Object attempts to explore the idea of the post modern utilizing technology which has been built and modeled in the wake of post modernity. Due the form in which it was conceived, the web has capabilities uniquely suited to presenting material on the subject. "Objective: Towards a new experience: Not a critical work, not a music video, not a novel, not a video game, but something from all. Utilizing multiple and ever more complex interfaces (ways of accessing the information), the user is invited to experience the chosen selections. Not only has the author died, but so has the author's pattern: What remains? A collection of narrative morphemes, quotations, images (textual and visual, titles, themes, character descriptions/identities, and critical analyses).

   "This work attempts to engage with the process of structure: In this case, the structure of an academic text."

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 17.01.2013 - 21:19

4. The Database, the Interface, and the Hypertext: A Reading of Strickland's V

   The uniqueness of a new-media work is the mobility of its elements, present as binary code in computer, yet capable of being mobilized into action through user interaction or through programming. Many new media works make full use of multiple functionalities of current software applications, bringing to light in unique ways the effect a well-designed interface can have on the meaning-making process. How do we read these digital texts that mutate with the touch of a key? What is the role of the medium in the meaning-making process? Though I explore these questions, I also attempt to go beyond them to see if new media works can serve as a lens to reflect on the postmodern condition. Strickland's V: Losing L'una/WaveSon.nets/Vniverse (2003), with a dual existence in print and the electronic medium, is especially useful for this exploration. It is self-reflexive as it comments on both reading and writing practices. It also lies at the intersection of multiple discourses of science, technology, philosophy, literature and art.

   Scott Rettberg - 07.07.2013 - 20:17

5. Si son sólo libros

   Si sólo son libros by Marla Jacarilla, 2009, is a simple hypertext in which the author links 48 books by means of a screen that evokes an image, an illustration or a collage. A paragraph selected from the book completes the presentation. The list of volumes is dynamic and it moves around the screen and therefore, after a while, the access to a particular book is lost (Félix Rémirez, translated into English by Maya Zalbidea).

   Maya Zalbidea - 17.07.2014 - 20:38

6. From Beyond

   The installation plays with the boundaries of form and consciousness through play with the material and the immaterial. From Beyond invites the reader to interact with a digitally augmented Ouija Board. The Ouija Board (also known as the “talking board”) is well-explored in popular culture as a device that is traditionally employed in an attempt to communicate with the dead, who are themselves voiceless and thus can be “heard” only through the indication of written letters. The board is thus itself an interface that plays at the boundaries of the real and the presumed supernatural, as it operates through superstition: readers place their fingers on the planchette and it moves to answer questions, with a “Yes” or “No” placed on the board. Likewise, our digitally enhanced Ouija Board invites the user to guide a planchette (a pointer) as a tactile interface for making binary decisions while traversing a hypertextual work on a screen that serves as a lens between the reader’s world and the world of the story.

   Hannah Ackermans - 08.09.2015 - 09:45