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CityFish
CityFish is a hybrid word, title of a hybrid work, tale of a hybrid creature. Part classical parable, part children’s picture book, CityFish is a web-based intertextual hypermedia transmutation of Aesop's Town Mouse Country Mouse fable. Winters, Lynne freezes in Celsius in the fishing village of Brooklyn, Nova Scotia (Canada), a few minutes walk from a white sandy beach. Summers, she suffers her city cousins sweltering in Fahrenheit in Queens, New York (USA). Lynne is a fish out of water. In the country, her knowledge of the city separates her from her school of friends. In the city, her foreignness marks her as exotic. CityFish represents asynchronous relationships between people, places, perspectives and times through a horizontally scrolling browser window, suggestive of a panorama, a diorama, a horizon line, a skyline, a timeline, a Torah scroll. The panorama and the diorama have traditionally been used in museums and landscape photography to establish hierarchies of value and meaning. CityFish interrupts a seemingly linear narrative with poetic texts, quotations, Quicktime videos, DHTML animations, Google Maps and a myriad of visual images.
Scott Rettberg - 30.01.2011 - 19:57
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Kind of Blue
An email novel that forms a sequel to Rob Wittig's Blue Company, originally sent out in emails to a small group of readers over the course of the summer of 2002, and later published on the web as an archive of emails in August 2003 by frAme Journal of Culture and Technology.
Jill Walker Rettberg - 02.02.2011 - 22:03
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SKIN: A Mortal Work of Art
A short story where each word was tattooed on the skin of a volunteer. These volunteers were the only people who saw the full text of the story. The website documents the work using photographs of tattooed words, a map showing where the words "live", and describing the concept: 'From this time on, participants will be known as "words". They are not understood as carriers or agents of the words they bear, but as their embodiments. As a result, injuries to the printed text, such as dermabrasion, laser surgery, tattoo cover work or the loss of body parts, will not be considered to alter the work. Only the death of words effaces them from the text. As words die the story will change; when the last word dies the story will also have died. The author will make every effort to attend the funerals of her words.'
(Source for quoted text: Author's Project Announcement)
Jill Walker Rettberg - 02.02.2011 - 22:07
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She's a Flight Risk...
A presumably fictional blog about a wealthy heiress who flees her family for not entirely clear reasons, possibly to do with a forced marriage. The blog begins, "On March 2, 2003 at 4:12 pm, I disappeared. My name is isabella v., but it's not. I'm twentysomething and I am an international fugitive."
Jill Walker Rettberg - 02.02.2011 - 22:21
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For Thee: A Response to Alice Bell
In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.
Eric Dean Rasmussen - 03.02.2011 - 11:01
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The Strategy of Digital Modernism: Young-Hae Chang Heavy Industries's Dakota
from Project MUSE: A prominent strategy in some of the most innovative electronic literature online is the appropriation and adaptation of literary modernism, what I call “digital modernism.” This essay introduces digital modernism by examining a work that exemplifies it: Dakota by Young-hae Chang Heavy Industries. I read this Flash-based work in relation to its literary inspiration: the authors claim that Dakota is “based on a close reading of Ezra Pound's Cantos part I and part II.” The authorial framework claims modernism’s cultural capital for electronic literature and encourages close reading of its text, but the work’s formal presentation of speeding, flashing text challenges such efforts. Reading Dakota as it reads Pound’s first two cantos exposes how modernism serves contemporary, digital literature by providing a model of how to “MAKE IT NEW” by renovating a literary past.
Eric Dean Rasmussen - 14.02.2011 - 10:27
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Dakota
Big black capital letters on white background, one, two or three words at a time, scheduled to match the beat of the music.
The piece is based on a close reading of Ezra Pound's Cantos I and first part of II.Eric Dean Rasmussen - 14.02.2011 - 10:44
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Senghor on the Rocks
Senghor on the Rocks (SOTR) was published online under a creative commons license as the first novel illustrated with Google Maps. Every page of the virtual book that was created for the online presentation of the novel is accompanied by a satellite view of the current location of the story. Readers experience the novel’s action as a journey on the map, including smooth panning from location to location as the characters travel around or different zoom levels showing areas in close detail or as an overview. The novel itself is written in German and deals with an involuntary journey of young assistant cameraman Martin “Chi” Tschirner taking him through Dakar and the Senegal. In the first chapters Chi is busy shooting a promotional film in Dakar and does not care too much about where he is or what the city he is hurrying through may be like – other than loud, dirty and inscrutable. Chi doesn’t like his job or the people he works with too much and the routines of his work prevent him from seeing the world instead of a series of changing locations requiring different light filters and lenses.
Eric Dean Rasmussen - 16.02.2011 - 14:37
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Senghor on the Rocks: A Georeferenced Electronic Novel
author-submitted abstract: Senghor on the Rocks (SOTR) is the first novel that has been extensively illustrated with the help of online satellite imagery. SOTR was written in the form of a classical novel well before we developed the presented online format for publishing. Because of its linear narrative structure, the consistent first?person perspective of the text and the movement that happens throughout the text, it was very well suited for an adaption as an online "geo?novel" based upon Google Maps. The text of the novel was not changed for the online version, but every scene has been geographically referenced and the chapter structure has been adjusted for online reading habits.
Eric Dean Rasmussen - 16.02.2011 - 14:50
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The Raw Shark Texts
The Raw Shark Texts
Eric Dean Rasmussen - 17.02.2011 - 16:37
