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1. Time the Magician

   Time, the magician (2005) is a collaboration by Hazel Smith and Roger Dean written in the real-time algorithmic image-processing program Jitter. The piece begins with a poem, written by Hazel, on the subject of time:  influential on the writing of the poem was Elizabeth Grosz’s The Nick of Time.  The poem is initially performed solo, but as it progresses is juxtaposed with live and improvised sound which includes real-time and pre-recorded sampling and processing of the voice. The performance of the poem is followed (slightly overlapping) by screened text in which the poem is dissected and reassembled. This screened text is combined in Jitter with video of natural vegetation, and the sound and voice samples continue during the visual display.

   Hazel Smith - 26.03.2021 - 11:49

2. Samorost 2

   Samorost 2 tells a surreal story of a space gnome whose dog just got kidnapped by mischievous aliens. Set out on a short expedition to rescue the pup, deal with curious strangers and relax to the soothing music by Tomáš "Floex" Dvořák.

   (Source: Amanita Design)

   Ana Isabel Jimenez Sanchez - 27.09.2021 - 21:59

3. The Bomar Gene

   While most social dynamics focus on the exterior of the human condition, the outward body and its many appearances, it is the interior, the cellular level of humanness that has the greatest influence on who we become. And yet, those microscopic worlds inside our bodies, the genetic codes that drive our growth and eventual dissolution have eluded any attempt at full comprehension. Yet these discoveries are, sadly, subject to power relations that claim ownership over gene sequences and sell back to us cynical futurities of an ideal human form through genetic manipulation. This new science, what some are calling 'the hinge' in contemporary human development, drives and bursts the net-based new media creation "The Bomar Gene".

   Jill Walker Rettberg - 24.03.2011 - 22:43

4. Itinerant

   Itinerant invites people to take a walk through Boston Common and surrounding neighborhoods to experience an interactive sound work that re-frames Mary Shelley's Frankenstein, the classic tale of conflict between techno-scientific hubris and the human spirit. A second orignal text is woven throughout the space, engaging visitors in a search for an elusive character who is doppelganger to both the doctor and the creature. Sounds, "played" by visitors as they move through the city, create a series of frames within which to reflect upon our highly mobile, technologically saturated society and issues of identity, place, and displacement. Mobile and locational media (GPS) formally underscore themes in the work. The sonic overlay is also presented as an interactive map on the web, creating a formal re-framing and displacement of this site-specific work.

   (Source: Artist's description at project site)

   Scott Rettberg - 18.04.2011 - 12:36

5. Torus

   This video provides limited documentation of the
   “Torus” project. Unfortunately, however, it does not give a good
   impression of the reader’s experience of Torus as an instance of
   immersive VR. Constrained by the requirements of Cave technicians, the
   video is shot from a single point of view and without the stereo imaging
   that would usually be in operation. Moreover, the camera’s point of
   view is different and significantly distant from the reader’s point of
   view and this compromises the immersive illusion. For example, and most
   obviously, planes of text which should appear to extend behind the
   reader and out through the screen appear to be folded back away from
   both the camera’s and the reader’s point of view. Please bear this in
   mind when reviewing this material.

   A pdf version of the interview is in the Brown Digital Repository (which is supposed to guarantee its links for as long as the institution lasts):
   https://repository.library.brown.edu/studio/item/bdr:383674/

   Rita Raley - 05.05.2011 - 15:06

6. F2F

   F2F might seem retro to you. It struck me as very 1991. The idea of a hypertext that is heavy on the text seemed to lose its charm as soon as images, moving animation, video and sound could also be included. One of the downsides to the speed of the evolution of hypertext, is that whole possible genres and subgenres were not given the chance to grow. What happened to the web-film-essay? Well, it never happened. Sure, there are some text-book-market CD-ROMs and the like that do something similar, but they use video more as mere illustration. What about a film essay that would incorporate the mystery the moving image rather than try to compete with it? What about utilizing images and sounds that potentially resist the text? What about playing with the clips like a video artist would?

   Joe Milutis - 20.01.2012 - 22:40

7. >>oh<<

   >>oh<< is a “concrete cyberpoem, an interactive audio-visual by Reiner Strasser. It is based on a visual poem by Dan Waber, created on a short poem by Jennifer Hill-Kaucher” (“>>oh<<'s website”). Gray dots simulating the effect of rain fall on the page and by passing over them with the pointer an audible “Oh” sound is triggered and a ripple effect extends out from it, briefly illuminating the background text of the poem. The uncovered text and the voiced “Ohs” differ between dots and when one has moused over each one a blue dot appears. When clicked, like a fresh rainfall it washes the entirety of the poem's background text into view.

   Meri Alexandra Raita - 30.01.2012 - 21:13

8. DADA TO GO: A WALKTHROUGH LEVELS

   To trail DADA traces on the net is a possibility to look up loose text satellites on a short-term and to bring singular DADA groups and sources to level a structural gap. Here, it doesn’t make much sense to talk about DADA per se, as approaches to and updates of DADAism as a historical phenomenon are too diverse: for instance, virtual identities settle in – present (babel, hugo baron, frieder rusmann, dadasophin) and historical ones (duchamp, tzara, serner, ball, schwitters), bananas are traded (anna banana) and indexed, art’s and the artist’s death is given shape (kunsttot.de), virtual countries are built (bananaland, rongwrong puppet empire) and, sometimes, even the audience is happily dispensed with (neumerz, dadasophin). DADA TO GO bundles these different traces in an audio text which lets the DADA groups act within an environment which refers to computer games and makes DADAism get a move on. For: Boredom was in the beginning of DADA … (Source: kunstradio.at)

   Johannes Auer - 08.11.2012 - 16:07

9. Turbo på ordet

   Three eMac computers present three of Danish poet Per Højholt´s concrete poetry: Turbo, +1, and Punkter (Points). These celebrated poems were first written in 1968, 1969, and 1971 respectively. They focus on language play, and the visual forms of language, often at the expense of language meaning. Turbo, in particular, is considered a milestone in the history of Danish poetry. This installation, Turbo på ordet (Turbo on the Word), re-presents Højholt's poetic forms with Flash animation. In 2005, it was first unveiled at the Audatur festival for ny poesi (Audiatur Festival for New Poetry) in Bergen, Norway, and was subsequently set up at two libraries in Roskilde, Denmark in 2006.

   Melissa Lucas - 04.01.2014 - 00:02

10. regenerative

    regenerative is the second part of the degenerative experiment, in which a web page became increasingly corrupted each time it was visited.

    in the regenerative web page, text degenerates with each visit, but it also attempts to regenerate itself by trying to extract some text from the refering page.

    if extraction succeeds, the new text is implanted within the degenerating text and becomes part of it.

    Jana Jankovska - 19.09.2018 - 16:04

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