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1. On the Surface of Aleph Null

   On the Surface of Aleph Null

   Eric Dean Rasmussen - 14.06.2012 - 14:38

2. “III=II=I=I=II=III”

   A network- and laptop- distributed language art performance based on texts that have been processed and regenerated in terms of the typo- and orthographic dimensionalities of their supply compositions, with phrase selection based on indexed occurrence counts hacked from Google.

   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 14.06.2012 - 14:51

3. Reading Augmented Spaces and the Dimensions that Define Them

   Most new media work establishes interactivity within a curated installation space: a gallery, a festival, or an area whose purpose is to exhibit art. However, recent experiments in new media narratives have made use of the capabilities of smartphones and tablets to present experiences that are aware of the user’s position in space and
   even their current behavior or object of attention.

   Specifically,augmented reality works set themselves apart by re-contextualizing environments and objects encountered in everyday life, removing the fourth wall and blurring or eliminating an interactive experience's boundaries. This differs markedly from the purism of the imagination tapped by literature, and often even favors more realistic integration, in contrast to stylistic depictions and abstractions used in monitor-based works. Augmented reality’s strength and interest lies in how it embeds a story in an environment, or how it can be used to awaken new awareness of a viewer to their surroundings. This bridges the world of the reader with the diegesis of the narrative, resulting in works that react to the immediacy of the experienced space.

   Eric Dean Rasmussen - 14.06.2012 - 15:13

4. Condors' polyphony and jawed water-lines catapulted out: Gnoetry and Its Place in Text Processing's History

   As chronicled on the “Beard of Bees” website, authors involved with Gnoetry, “an on-going experiment in human/computer collaborative poetry composition”, have collectively engaged with digital textual processing for more than a decade (see http://beardofbees.com/gnoetry.html and also http://gnoetrydaily.wordpress.com/). In 2011, the group published their first anthology, Gnoetry Daily, Vol. 1, a 52 page collection of verse spun with programs named Gnoetry, charNG, Infinite Monkeys, ePoGeeS, welatanschauung, and JanusNode, with accompanying commentary by Eric Elshtain, eRoGK7, Matthew, edde addad, nathanielksmith, and DaveTolkacz.

   Eric Dean Rasmussen - 14.06.2012 - 15:16

5. Sound Rites: Relationships Between Words and Sound in New Media Writing

   While discussion of the relationship of image and word has been prominent in the discourses
   surrounding new media writing, the role of sound is rarely addressed in this context, even
   though words are sounds and sounds are a major component of multimedia. This paper
   explores possibilities for new theoretical frameworks in this area, drawing on musico-literary
   discourse, intermedia theory and inter-cultural theory, and using ideas about semiotic and cultural exchange as a basis.

   Eric Dean Rasmussen - 14.06.2012 - 15:17

6. The Book, the Cinema, and the Vestigial Structures of Electronic Literature

   The Book, the Cinema, and the Vestigial Structures of Electronic Literature

   Eric Dean Rasmussen - 14.06.2012 - 15:37

7. The Quaker Oat Box – Infinite Regress

   The Quaker Oat Box – Infinite Regress

   Eric Dean Rasmussen - 14.06.2012 - 15:38

8. Bookishness on Screen

   Distance presentation

   Eric Dean Rasmussen - 14.06.2012 - 15:39

9. Terms of Use

   'Terms of Use' (Sat)
   A performative and polemical reading of a short prose piece concerning the ways in which the network services of vectoralist 'big data' are reconfiguring practices of writing and reading.

   (Source: Author's abstract, 2012 ELO Conference site)

   Eric Dean Rasmussen - 14.06.2012 - 16:04

10. Galatea’s Riposte: The Reception and Receptacle of Interactive Fiction

    When I open the Spatterlight application to access “Galatea,” one of Emily Short’s many fabulous
    pieces of interactive fiction, a supple string of text hails me, flirts with me, and stops just short of
    calling me by name. The more I read, the more I learn about the source of the text itself, Galatea.
    “She” is a simple yet oddly convincing AI, one who is as reactive as she is acted upon, whose words
    emerge in response to my own, and whose short temper has shut down our collective story more
    times than I can count. As startling as her salutations initially seemed and as accustomed to her
    spurning me as I have become, I remain intrigued by Galatea’s overt and shameless invocation of her reader—in this case, me.

    Eric Dean Rasmussen - 14.06.2012 - 16:34

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