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To Touch
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Patricia Tomaszek - 17.09.2010 - 22:09
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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
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Candles for a Street Corner
Candles for a Street Corner
Eric Dean Rasmussen - 10.02.2011 - 16:03
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Deep Surface
Deep Surface is the monstrous progeny of a strange romance between a reading machine and a free-diving simulator. Literature at crush depth. Hypertext gets wet. Generically, it is yet another instrument: one of those things you can play (or play with), without playing a game. There are rules here, and procedures, and (as in Real Life) a more or less invisible scoring system; so astute players may be able to invent clever and even elegant strategies. But if you're not feeling astute, you can plunge in and have a dip, immersing yourself in what signs and symptoms may present themselves as you pass by, dreaming perhaps of meaning... till robot voices wake you, and you drown.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 20.02.2011 - 14:26
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Toucher
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)Eric Dean Rasmussen - 21.02.2011 - 14:22
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The Sweet Old Etcetera
Author description: The Sweet Old Etcetera is an interactive web project based on the poetry of e.e. cummings. e.e. cummings' poetry is highly visual, playful and experimental. "The Sweet Old Etcetera" interprets selected poems for a new media context and introduces additional layers of meaning through the use of motion, graphics, sound and programming. The project hopes to offer a fresh response to the print poetry, aiming to release it from the confines of the physical page and bring it into a digital environment in a playful way.
Eric Dean Rasmussen - 22.02.2011 - 15:20
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Pieces of Herself
Pieces of Herself is an exploration of feminine embodiment and identity in relationship to public and private space. Using a drag-and-drop game interface, viewers scroll through familiar environments (e.g., domestic, outdoor, work) to collect metaphorical "pieces" of the self and arrange them in compositions inside the body. As each piece enters the body, it triggers audio clips from interviews with women, music loops, and sound effects, resulting in a layered narrative. The project, which was inspired by Elizabeth Grosz's theories about embodiment, comments on social inscription of the body. The environments are composites of more than 400 photographs; the pieces include 40 vector drawings, and the audio clips include segments from interviews with 10 women.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 22.02.2011 - 17:26
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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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Tailspin
An old man’s tinnitus and partial deafness is a source of friction between him, his daughter and grandchildren yet he stubbornly refuses to contemplate treatment or hearing aids. Karen, the daughter, has always been hurt and mystified by his angry reactions, but the key to his behavior lies deep in the past. Tailspin is a multi-layered, animated fiction, created in Flash, about the intergenerational friction between an old man suffering from tinnitus and his daughter, whose children play noisy handheld games consoles. Sound mixes and animations, some programmed to play randomly, reflect the auditory and emotional disturbances of the characters around the family meal table. Broken dreams, spoilt playtimes, dysfunctional behaviour, malfunctioning machines and the sounds of alarm are both puzzling and distressing as the past splinters the present.
(Source: Author's description)Eric Dean Rasmussen - 02.03.2011 - 13:52
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Neseblod
Neseblod means "nose bleed" in Norwegian, and a blurred photo of a man's face, with blood around his nose, is a key visual element of the piece. This is a dynamic, audio-visual work where the reader can affect which sounds are produced and which textual fragments are displayed on the screen. The background consists of three images that repeat in a loop at the same time as a white line continuously moves in a loop from top to bottom of the screen. The reader can move eight white dots around on the screen, and each dot has its own sound and a small textual fragment. Each time the white line scans a white dot the sound and the textual fragment are realised. The work's aesthetic expression depends on how many dots the reader chooses to activate, and how the reader organises the dots in the space. (source: Hans Kristian Rustad for elinor.nu)NO LONGER ONLINE?
Jill Walker Rettberg - 27.03.2011 - 13:40
