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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. Cruising

   On one level, Cruising is an excited oral recitation of a teenager's favorite pastime in small town Wisconsin, racing up and down the main drag of Main Street looking to make connections, wanting love. But by merging the linear aspect of the sound recording with an interactive component that demands a degree of control, Cruising reinforces the spatial and temporal themes of the poem by requiring the user to learn how to “drive” the text. A new user must first struggle with gaining control of the speed, the direction, and the scale in order to follow the textual path of the narrative. When the text on the screen and the spoken words are made to coincide, the rush of the image sequence is reduced to a slow ongoing loop of still frames. The viewer moves between reading text and experiencing a filmic flow of images — but cannot exactly have both at the same time. In this way, the work seeks to highlight the materiality of text, film, and interface.

   (Souce: Authors' description from Electronic Literature Collection, Volume One)

   Scott Rettberg - 22.04.2011 - 13:43

3. This Is Not A Poem

   This work takes the poem "Trees" by Joyce Kilmer and, transcribing it onto a "scratchable" disk, makes it into a toy, a game, and a language engine.

   (Source: Author's description)

   Scott Rettberg - 20.05.2011 - 12:35

4. Spine Sonnet

   Spine Sonnet” (the app) is an automatic poem generator in the tradition of found poetry that randomly composes 14 line sonnets derived from an archive of over 2500 art and architectural theory and criticism book titles.

   “Spine Sonnet” (the website) combines images of scanned book spines into stacks of 14 titles. Each time you refresh the browser you get a new combination.

   (Source: The ELO 2012 Media Show)

   Eric Dean Rasmussen - 26.04.2012 - 07:49

5. Afeeld

   Afeeld is a full-length collection of playable intermedia and concrete art compositions that exist in the space between poetry and videogames. It was published as a 'Digital Original' by the Collaboratory for Digital Discourse and Culture at Virginia Tech in 2017.

   Eric Dean Rasmussen - 26.04.2012 - 16:42

6. Between Page and Screen

   Coupling the physicality of the printed page with the electric liquidity of the computer screen, Between Page and Screen chronicles a love affair between the characters P and S while taking the reader into a wondrous, augmented reality. The book has no words, only inscrutable black and white geometric patterns that—when seen by a computer webcam—conjure the written word. Reflected on screen, the reader sees himself with open book in hand, language springing alive and shape-shifting with each turn of the page. The story unfolds through a playful and cryptic exchange of letters between P and S as they struggle to define their turbulent relationship. Rich with innuendo, anagrams, etymological and sonic affinities between words, Between Page and Screen takes an almost ecstatic pleasure in language and the act of reading. Merging concrete poetry with conceptual art, “technotext” with epistolary romance, and the tradition of the artist’s book with the digital future, Between Page and Screen expands the possibilities of what a book can be.

   Scott Rettberg - 12.06.2012 - 13:29

7. Know

   Buzz Aldrin Doesn't Know Any Better was a poem about crazy talking with a street-person outside a pawn shop on a sunny San Francisco afternoon.

   The original work was first created to be the middle panel for Things You've Said Before But We Never Heard, a triptych exploring conversations with in different registers, as well as the differences in presenting text in print and screen formats.

   Know is the second app in the Poetry for Excitable [Mobile] Media (P.o.E.M.M.) Cycle. We will create a series of ten such apps, each exploring different interaction methods, collaboration strategies, and publication methods. The P.o.E.M.M.s are also part of a series of exhibition-scale interactive touch-works integrated with large-scale printed texts. To find out more about the P.o.E.M.M. project, visit www.poemm.net.

   (Source: Author's description on iTunes store)

   Scott Rettberg - 26.01.2013 - 12:40

8. Speak

   Speak v. 3 is a platform with which to experiment with digital poetry. Users can enter their own text and interact with it in the Speak way, or they can feed the app with text from a Twitter stream.

   Speak v. 1 was an interactive poem about mistaken identity and the confusion that happens when people believe you are somebody you are not. V. 2 was a mini-platform hosting texts about place, voice and the nature of poetry itself. It features four commissioned texts, written by well-known guest poets:
   — J.R. Carpenter
   — David Jhave Johnston
   — Jim Andrews
   — Aya Karpinska

   Speak is the first app in the Poetry for Excitable [Mobile] Media (P.o.E.M.M. ) Cycle. We will create a series of ten such apps, each exploring different interaction methods, collaboration strategies, and publication methods. The P.o.E.M.M.s are also part of a series of exhibition-scale interactive touch-works integrated with large-scale printed texts. To find out more about the P.o.E.M.M. project, visit www.poemm.net.

   (Source: Author's description on the iTunes store)

   Scott Rettberg - 26.01.2013 - 12:52

9. The Body Politic

   In this multimedia hypertext poem, Ley foregrounds some ways in which the body is constructed and politicized. Using the HTML select tag as a way to structure lines of verse by hiding them under the first line of the stanza, she reinforces the metaphor of surface and depth as text and subtext. The pull-down menu produced by this tag carries a little functional baggage, that one is to choose an item from the list, which becomes something to be acted upon, such as information on a form or a link to another document. In this piece the reader can only select a line, which remains juxtaposed to the title, but nothing else happens. Is Ley highlighting the passivity of simply reading the text about women’s bodies and cruelty to animals in the cosmetics and food industries, if not accompanied by political action? On several pages she provides links to PETA inviting readers to take that extra step and get involved, rather than just enjoy the surface of things.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 22:26