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1. 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

2. Under Language

   "Under Language" is the latest in my series of textual instruments, a term I borrowed from John Cayley many years ago to describe things that might look like literature, but also like structures for play, though not necessarily what we would call games.

   In fact, this one lies pretty close to game space, having rules, a scoring system (albeit invisible), and even a simple agon in which you compete against the perversity of the puzzle-maker, and constraints of the clock.

   The phrase "under-language" was invented by the comics artist, Alan Moore, in an interview he gave in the early 1980s. He used it to describe the essence of comics art, which is neither verbal nor visual, but something that underlies and infuses both modes. The term gets at the essence behind Moore's great genius for irony and verbal-visual puns. It also provides a convenient reminder that everything, these days, tends to mean more than it seems.

   Scott Rettberg - 20.10.2011 - 09:41