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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. The Cape

   The Cape is a short work that engages the history of visual print-based authority by combining impersonal, government-created images with a purportedly personal story. Carpenter animates decades-old black-and-white photographs, illustrations, and maps, adding to these a few laconic caption-sized texts to extend an exploration of "place" that digital space evokes.(Source: Electronic Literature Collection, Vol. 1)

   J. R. Carpenter - 04.03.2011 - 22:12

3. Six Little Loops

   Artist's statement:

   Maps are metaphors. Through metaphors we connect what we experience to what we remember. We create knowledge by connecting the new (the present) to what we know (the past) and so maybe predict what happens next (the future). 

   Our desire to predict fuels our desire to live, to survive. Desire is the foundation of narrative. Narrative reduces to desire, action and result-the structure of story. We exist in endless loops of desire-layer upon layer of stories of varying temporalities and shifting priorities-all synchronized to rhythms of breath and heart. 

   I make maps. I start with raw code-simple numeric models. As all is number in the computer I can map the numbers to the senses-turn numbers into tangible experience? The maps might loop in time (animation and audio) or freeze in a moment (a still image or print). There is synchrony in the sensory vertical and the temporal horizontal. Image and audio derive from the same numeric source. Each maps the other in the moment and through time. It's a visual music in a synaesthetic counterpoint. 

   Scott Rettberg - 09.01.2013 - 15:34

4. Nature on a Leash

   "Nature On A Leash" is an idiosyncratic animated portrait of nature as an extension of the built environment, where suburbanites collect, redesign and objectify the "natural world" for its entertainment, recreational and decorative use value.

   Artist Statement
   "Nature On A Leash" is an idiosyncratic portrait of nature as an extension of the built environment. In this short video, suburbanites collect, redesign and objectify the "natural world" for its entertainment, recreational and decorative use value. Cars drive on beaches, starfish crawl across balconies, and pelicans travel on motor boats. A series of living postcards and ambient sounds transport the viewer through an everyday "to do" list that is simultaneously real, surreal and unreal.

   Scott Rettberg - 09.01.2013 - 20:46

5. Una Selva Oscura

    Inspired by one of Tom Phillips' illustration for his Dante's Inferno (Talfourd Press, 1983), "Una selva oscura" is a digital visual poetry framework providing readers with different poems and the possibility to write their own. 
    

   Artist Statement:

   My work has been driven by three main themes: interpretation through adaptation, little acts of unacknowledged violence, and the expression of a sexual self. What is at stake in those themes is three aspects of the act of representation. By adapting somebody else's work, I present it anew, in a different context that has to do with the original work but also with my reaction to it, my interpretation of it. By representing little acts of violence in an absurd, cynical or sarcastic way, I provide a depiction of them that acknowledges what would otherwise be left unspoken. By expressing a sexual self that is feminine and feminist, outspoken and in charge of her sexuality, I provide the representation of a reality that is too often left in the dark because of taboos, repression and censorship. 

   Scott Rettberg - 13.01.2013 - 18:08