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open.ended
Author description: open.ended is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.
(Source: Author description, ELC vol. 1).
Eric Dean Rasmussen - 29.04.2011 - 10:01
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TLT vs. LL
The z dimension in this work is important to the conceptual as well
as the physical operation of the work. Normally, I am not so much
concerned beyond the xy. My work is first graphic, then literary,
interactive, and whatever else, so a concern beyond 2D is not high
priority – until now, and with thanks in part to Rita Raley’s z
queries.
The idea of 'versus' (as opposition) demands at the
least two sides, so, it could be represented visually with just xy.
Previous 'dual' examples (and these are xy representations):
warnell.com/pbn_io/dialog04.htm. Subject: dialog
Email from John Cayley (/w Rita Raley), 2004
warnell.com/real/dialog.htm. Dialog
Email exchange with visual poet Jim Andrews, 1997
So, thinking along that z line... the opposition
comes not from the left or right, but from back to front ( 1 white from
9 x white moves to top )Rita Raley - 05.05.2011 - 14:56
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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
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[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
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I, You, We
The viewer is inside a kind of cube, an infinite cube that can be rotated endlessly without returning to the same view. Between I and you and we flows a river of verbs. The piece can be manipulated by clicking or dragging, or will move on its own if left still for a few moments.
(Source: Author description, ELC vol. 1.)
Eric Dean Rasmussen - 12.05.2011 - 09:26
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lens
lens began as a study piece relating to work-in-progress for the four-wall VR Cave at Brown University. It demonstrates how literal materiality - the surfaces of letters composing the texts of 'lens' itself - can, in a simple illusory 3D space, subvert our familiar experiences and assumptions concerning surfaces of inscription. For example, by making a letter large enough within the programmatic structures of lens, the region of colour defining the letter-shape becomes an entirely different type of surface - it becomes a surface of inscription for other texts that had been perceived 'underlying' it. In doing so, literal surfaces subvert our experience of space and relative distance. Surfaces that were 'in front' now form surfaces for other texts. They may even become other 'spaces' within which writing drifts. Letters both delineate and redefine spatial relationships.
Scott Rettberg - 23.05.2011 - 13:53
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Spamology
Spamology is a live audiovisual representation of word frequencies in spam e-mail messages.
The visualization is based on analysis of a private archive of spam messages which were collected during 10 years (1998-2007), containing up to 2,000,000 emails originated from various parts of the world. Spam data is visualized in a 3D landscape, where popular words are represented as rectangular structures of various heights, illustrating the occurrence rate of each word in the archive year. Next to the visual representation, each word generates an audio signal with a frequency related to the number of times it occurred during a certain year. Words of various frequencies flow through the 3D landscape simultaneously, forming a constantly-changing sonic texture.
Spamology is a part of ongoing research examining the nature of Spam as a digital-cultural phenomenon. The project aims at visualizing the links and interrelationships between the contents of spam, the user/ individual and the society, by revealing patterns which may reflect cultural and social trends, behaviors and variations.
Scott Rettberg - 11.10.2011 - 13:43
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Home
Home explores the meaning of home, the secrets revealed there, and our emotional relationship to both the place and the intimacies contained therein. A house is for sale; it has been abandoned. Yet it reverberates with the memories of those who lived there and whose most private moments still inhabit the half empty spaces. The user overhears snippets of emotionally charged family conversations, moves down dark corridors and enters into surprising rooms. You eavesdrop, learn secrets, watch. From these fragments the story of this specific home is pieced together, as well as the meaning of home itself.
Scott Rettberg - 03.06.2012 - 12:40
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Between Page and Screen
Coupling the physicality of the printed page with the electric liquidity of the computer screen, Between Page and Screen chronicles a love affair between the characters P and S while taking the reader into a wondrous, augmented reality. The book has no words, only inscrutable black and white geometric patterns that—when seen by a computer webcam—conjure the written word. Reflected on screen, the reader sees himself with open book in hand, language springing alive and shape-shifting with each turn of the page. The story unfolds through a playful and cryptic exchange of letters between P and S as they struggle to define their turbulent relationship. Rich with innuendo, anagrams, etymological and sonic affinities between words, Between Page and Screen takes an almost ecstatic pleasure in language and the act of reading. Merging concrete poetry with conceptual art, “technotext” with epistolary romance, and the tradition of the artist’s book with the digital future, Between Page and Screen expands the possibilities of what a book can be.
Scott Rettberg - 12.06.2012 - 13:29
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Between Treacherous Objects
This sequence of poems arranged on three dimensional environments explore conceptual spaces between words. Each poem begins with a sequence of two words which are then represented pictorially on a virtual space, one in the front and another at the end of an open 3D tunnel, similar to the first version of Dreamaphage. As the reader navigates the diverse, visually engaging, and occasionally dizzying environments she encounters poetic texts, e-mail addresses, and passwords that provide access to short videos. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 16.06.2012 - 01:51
