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1. Talking Cure

   Talking Cure is an installation that includes live video processing, speech recognition, and a dynamically composed sound environment. It is about seeing, writing, and speaking — about word pictures, the gaze, and cure. It works with the story of Anna O, the patient of Joseph Breuer's who gave to him and Freud the concept of the "talking cure" as well as the word pictures to substantiate it. The reader enters a space with a projection surface at one end and a high-backed chair, facing it, at another. In front of the chair are a video camera and microphone. The video camera's image of the person in the chair is displayed, as text, on the screen. This "word picture" display is formed by reducing the live image to three colors, and then using these colors to determine the mixture between three color-coded layers of text. One of these layers is from Joseph Breuer's case study of Anna O. Another layer of text consists of the words "to torment" repeated — one of the few direct quotations attributed to Anna in the case study.

   Eric Dean Rasmussen - 10.03.2011 - 10:20

2. 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

3. The Dazzle as Question

   The Dazzle as Question is an animated hypermedia poem which traces the conflict between the left and right brain inclinations of an erstwhile 'old school' artist [as] experienced via his encounter with the digital realm. This conflict notes the[digital] media/um's seemingly unrivaled sway as pitted against the narrator's right brain predilections [heralds of an identity within which he was formerly ensconced, as if such were an ethic of his very being …].

   Eric Dean Rasmussen - 23.03.2011 - 14:54

4. We Descend : Archives Pertaining to Edgerus Scriptor, Volume One

   A story of our far future, unearthed by a Scholar to whom it is the distant past. But for that far-off scholar, as for every reader, the paths followed and the connections forged among the diaries, letters, confessions, and artifacts lead only to further questions. Some documents speak to us of Egderus, a young boy at the isolated Mountain House. What -- or who -- lives in the rocky hills around him? What secrets bind his superiors in fear and silence? What is it that creeps out, undetected, to drive a man mad, or to tear him limb from limb? Why must Egderus later leave the Mountain House as amanuensis to the Good Doctor, interrogator and torturer? What intrigue surrounds one prisoner, the Historian, that makes the Good Doctor so relentless in his attack? Why, ultimately, is this Historian the one victim that Egderus attempts to rescue? Years later, as an old man at the Mountain House, Egderus uncovers only more mysteries. What did the Historian learn that drove him to his death? Does something live, still, in the rocks around him? And how shall Egderus pursue this disturbing legacy that could shake the foundations of his darkening world?

   Scott Rettberg - 25.03.2011 - 23:43

5. Labyrinth: the Rulebook without Game

   An ergodic Flash text exploring video game culture through the lens of playable manuals.

   How does one read this clever piece, which touches on so many genres, such as poetry, fiction, game, theory, game manual, and codework? It claims to be a manual for an absent game, a bottomless pit, and a labyrinth for readers to get lost, wondering if indeed the game has already begun. The reader inhabits a character from the outset, a 35 year old married man, who can take on different roles in games belonging to popular RPG and videogame genres: science fiction, spy thriller, fantasy, and labyrinth exploration. Most of the writing is in the tradition of game manual for these types of games (here’s an old favorite) which at their best help immerse the readers into the world of the game and can be more fun than the game itself. In the case of tabletop RPGs, like Dungeons & Dragons, the game is the rulebooks, and all it requires is players and some dice for the necessary randomizations— making them good recipients of the label “cardboard computers,” as Matthew Kirschenbaum has used for tabletop wargames.

   Mark Marino - 28.03.2011 - 16:12

6. Accounts of the Glass Sky

   In this Flash hypertext, Coverley weaves a tapestry of text, image, and sound, telling a California story that many readers can relate to. In this piece, the sky itself is the center of a meditation on memory and loss across decades of human experience. The same "blue sky" that often refers to people's wildest dreams now comes to represent boundaries and fears.

   (Source: Electronic Literature Collection, Vol. 1.)

   Eric Dean Rasmussen - 18.04.2011 - 11:07

7. All Roads

   Venice. The tight winding alleys and long dirty canals. Easy to become lost here, where every street emerges somewhere unexpected. In the central square a scaffold has been erected for your neck, and if only you can escape for long enough you might survive, but in this city all roads lead back to Piazza San Marco and the Hanging Clock.

   (Source: Author's description from Electronic Literature Collection Volume 1)

   Eric Dean Rasmussen - 18.04.2011 - 12:53

8. Storyland

   Storyland (version 2) is a randomly created narrative which plays with social stereotypes and elements of popular culture. Each sentence is constructed from a pool of possibilities, allowing each reader a unique story. The reader presses the "new story" button, and a story is created for that moment in time. It is unlikely that any two stories will be identical. Storyland exposes its narrative formula thus mirroring aspects of contemporary cultural production: sampling, appropriation, hybrids, stock content, design templates. It risks discontinuity and the ridiculous while providing opportunities for contemplation beyond the entertainment factor.

   The computer-generated combinatorial story is one of the oldest forms of digital writing. Storyland, with its simple circus frame, plays with this tradition by performing recombination of the sort seen in cut-up and in Oulipian work. The system repeatedly plots amusingly repetitive stories, inviting the reader to consider, to read its scheme for composition.

   (Source: Author description, Electronic Literature Collection, Vol. One).

   Eric Dean Rasmussen - 28.04.2011 - 14:57

9. Ad Verbum

   Ad Verbum is a Oulipo-inspired wordplay-based game.

   Scott Rettberg - 20.05.2011 - 12:00

10. Deeper into the Machine: The Future of Electronic Literature

    N. Katherine Hayles's keynote address for the 2002 State of the Arts Symposium at UCLA. Hayles identifies two generations of electronic literature: mainly text-based works produces in Storyspace and Hypercard until about 1995-1997, and second-generation works, mainly authored in Director, Flash, Shockwave and XML in years after that. She identifies second-generation works as "fully multimedia" and notes a move "deeper into the machine." She then reads a number of second-generation works in the context of their computational specificity.

    Publication note: Also published online in Culture Machine Vol. 5 (2003)

    Scott Rettberg - 30.05.2011 - 12:38

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