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1. Lexia to Perplexia

   Author description: Lexia to Perplexia is a deconstructive/grammatological examination of the "delivery machine." The text of the work falls into the gaps between theory and fiction. The work makes wide use of DHTML and JavaScript. At times its interactive features override the source text, leading to a fragmentary reading experience. In essence, the text does what it says: in that, certain theoretical attributes are not displayed as text but are incorporated into the functionality of the work. Additionally, Lexia to Perplexia explores new terms for the processes and phenomena of attachment. Terms such as "metastrophe" and "intertimacy" work as sparks within the piece and are meant to inspire further thought and exploration. There is also a play between the rigorous and the frivolous in this "exe.termination of terms." The Lexia to Perplexia interface is designed as a diagrammatic metaphor, emphasizing the local (user) and remote (server) poles of network attachment while exploring the "intertimate" hidden spaces of the process.

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

   Patricia Tomaszek - 16.09.2010 - 17:11

2. Plaintext Performance

   It's a live writing performance over the net combining 1) keyboard writing, 2) machinated, algorithmic writing, and 3) feeds from the processes surrounding the writing (like system monitoring, net connection monitoring, ftp log, etc). All in realtime and plaintext. It was performed live at the BIOS symposium, Center for Literary Computing, West Virginia University, September 2006, with a unix ytalk session as a sideshow. The static version shown here is based on the exhibition "e and eye - art and poetry between the electronic and the visual" at Tate Modern, London, October 2006. It's part of a series of work called "protocol performances". 'Protocol' is meant both as a lower level set of rules of the format of communication, and as statements reporting observations and experiences in the most fundamental terms without interpretation, relating it to phenomenological 'noemata' - thought objects, and thus identifying a data stream with a stream of consciousness. 'Performance' is meant both as a data protocol's physical performance as much as its play on the meaning as an artist-centric execution of work.

   Eric Dean Rasmussen - 16.03.2011 - 10:31

3. Amor de Clarice

   Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

   Scott Rettberg - 15.04.2011 - 12:04