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1. Trope

   Trope creatively intervenes in the ways that readers engage with literary texts by creating a virtual environment that is conducive to and assists the experience of reading the poetic text. The physicality of the text itself is key. Poems and short stories are repositioned rather than illustrated in spatialized, audio and visual format/s not possible in “real” life. In the trope landscape, Second Life users can negotiate their own paths through each creative environment and for example, fly into a snowdome, run through a maze in the sky, listen to a poem whispered by a phantom pair of dentures, or stumble upon a line of dominos snaking around the bay. Trope aims to expand writing networks and further develop the virtual literary community.

   (Source: Auithor's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 09.12.2010 - 01:12

2. slippingglimpse

   In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.

   Eric Dean Rasmussen - 31.01.2011 - 13:07

3. Entre Ville

   Entre Ville was commissioned in 2006 by OBORO, an artist-run centre in Montréal, on the occasion of the 50th anniversary of the Conseil des Arts de Montréal. J. R. Carpenter writes: "Although I had lived in Montréal for 15 years at the time of the commission, Entre Ville was my first major work about my adopted city. It took me that long to learn the vocabulary. I don’t mean French, or Greek, Italian, Portuguese, Yiddish or any of the other languages spoken in my neighbourhood. I refer, rather, to a visual, tactile, aural, sensorial vocabulary. My home office window opens into a jumbled intimacy of back balconies, yards, gardens and alleyways. Daily my dog and I walk through this interior city sniffing out stories. Poetry is not hard to find between the long lines of peeling-paint fences plastered with notices, spray painted with bright abstractions and draped with trailing vines.

   Eric Dean Rasmussen - 18.02.2011 - 20:09

4. Radial City

   Processed video, collaboration between artist and poet.

   Scott Rettberg - 02.03.2011 - 22:25

5. 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

6. Sooth

   Sooth is a set of love poems interactively triggered phrase-by-phrase to fly in flocks over original video. Sounds associated with each phrase are mapped to audio which pans and volume shifts in space as the phrase flies. Easing equations are randomly shuffled to create a sense of behavior to each phrase. Text-code-video-audio all original and released under a Creative Commons 2.5 License. It was created while I was artist-in-residence at La Chambre Blanche web-lab in Quebec city. Bilingual: French-English in same interface.

   (Source: Author's description from the Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 12:46

7. Up Against the Screen Mother Fuckers

   The poem is an abstract rendition of the rotten silk that fetters us people to these our awful screens. The graphics were generated in the CAVE writing text editor, by taking an ill-performing video screen capture of a spectral tube of "O"s in the editor's desktop preview mode. The audio was separately generated by improvisations into a Max/MSP patch. The title is after the late 60s anarchist affinity group, Up Against the Wall Mother Fuckers. I was inspired by their dramatic final exploit: cutting open the fences at Woodstock. The phrase Up Against the Screen Mother Fuckers started as the title for a CAVE piece, in which one thousand units of the people would enter the CAVE and break through its 4 screens to the vestibule holding the mirrors behind it.

   The poem was composed between Paris and Cork, 1-5 July 2007. The media was generated at Brown University, October 2007 to June 2008. First screened in Providence at Couscous, organized by Mairéad Byrne

   (Source: Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 14:31

8. Tao

   Tao

   Eric Dean Rasmussen - 21.04.2011 - 12:25

9. Interstitial

   David Jhave Johnston’s video-based "Interstitial" is a meditation on terminal anxiety. The title of the piece, which refers generally to that which occupies an “empty interval,” takes on a specific connotation when one considers its popular use in web development contexts for the commercial “pre-loaders” that hawk their wares while one waits for the site to open. The video, which is minimally edited, features three views arranged in triptych form: a cat decomposing in a river, tidal pools, and a bug undergoing metamorphosis. These events, as witnessed by Johnston, are unaltered and unmodified, simply captured where they occurred using handheld equipment. According to an artist’s statement published on Tributaries and Text-fed Streams (http://tributaries.thecapilanoreview.ca/2008/02/22/interstitial/), the web presentation of the files was formatted through the process of naming the discrete video, audio, and poetic text files and allowing software to assemble these pieces into an endless loop.

   Patricia Tomaszek - 06.05.2011 - 14:19

10. Extinction Elegies: a post-Fukushima interactive video-poem tht introduces mutations into the DNA of meaning.

    ARTIST STATEMENT: Nuclear reactors are built to last for about 30 years. After that, the spent fuel needs to be stored for thousands of years. Zero-fault is unknown in all human endeavours. Culture fissions. Extinction Elegies is about the fragile instability of received meaning at both biological and social levels.

    (Source: Artist's description on the project site)

    Scott Rettberg - 21.01.2012 - 19:04

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