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1. This is how you will die

   A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.

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

   Scott Rettberg - 20.04.2011 - 13:23

2. Dawn

   The poem combines aspects of love, death, and nature in one piece. Originally it consisted of three parts: text, photography, and sound. In the Flash version these parts are arranged in a loop completed by a minimalist interface (to pause).
   (Source: author description from ELC Vol. 1)

   Eric Dean Rasmussen - 26.04.2011 - 10:27

3. The Last Day of Betty Nkomo

   This 2005 piece distinguishes itself from most of YHCHI's earlier work in two ways: it is brief (about 2 minutes long) and it uses an Okinawan folk song (perhaps a version of "Asadoya Yunta") rather than jazz. This compelling story is perfectly synchronized to the music, powerfully narrating the thought process of a woman who seems to by dying on the floor, trying to get up, but unable to. The chords played on the sanshin set a regular tempo for the song and poem, but its heartbeat-like rhythm slows down into an abrupt silence at the end of the song, marking Betty Nkomos' death.

   For a more detailed reading of this poem, read pgs. 157-161 of Giovanna Di Rosario's dissertation, "Electronic Poetry: Understanding Poetry in the Digital Environment."

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

   Meri Alexandra Raita - 05.10.2011 - 13:51

4. Car Wash

   A kinetic poem reflecting on the death of the author's father that uses the car wash as a metaphor for passing between worlds.

   Scott Rettberg - 30.10.2011 - 20:36

5. Slaaplied (Lullaby)

   Dit gedicht is als het ware geboren uit een Sinfonia van Johann Sebastian Bach, hypnotisch gespeeld door Glenn Gould. De lezer wordt verplaatst naar een ziekenhuis of een verzorgingshuis, waarin een oud iemand de laatste uren van zijn leven is aangekomen. Hij bevindt zich in een staat tussen waken en slapen.  OPGEPAST: ZEER ONTROEREND! Slaaplied is verschenen in het Nederlands, Engels, Duits en Tsjechisch.

   David Prater - 09.11.2011 - 15:25

6. Chronicle of Deaths Forgotten

   This piece juxtaposes images of the Statue of Liberty and looped segments of powerful choral music with textual excerpts of small lives lost and forgotten. Their stories are partly hidden by the interface, its size and color contrasts, as different words and the background itself change color over time and as the result of mouseovers. Duc Thuan makes these texts deliberately challenging to read while the Statue of Liberty is foregrounded and shown in great details, perhaps to dare its readers to allow the texts to fade into the background, becoming complicit in the forgetting of these chronicles. After all, who remembers the “poor,” the “huddled masses,” the “homeless” welcomed to the United States by this unforgettable new colossus? (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 12:28

7. En anarkist er død

   This piece commemorates the Norweigan anarchist Harald Beyer-Arnesen, who died in 2005 at the age of 52. The piece begins by showing an newspaper opened to his obituary, and then displays a screen version of the newspaper obituary with certain words and phrases linked. When the reader clicks on a link, material is shown - sometimes articles explaining communism and anarchism, other times the voice of a friend talking about Beyer-Arnesen, a scrollable photo of some of his books or movie sequences from his childhood.

   Jill Walker Rettberg - 03.07.2013 - 12:11

8. obituaries.count

   What the user sees is a black-and-white, rectangular obituary in the middle of the
   computer screen which addresses the victims of the last Iraq war. By letting the languages
   and the meaning the textual fragments create fluctuate, the author emphasises
   the fact that obituaries are a global phenomenon, the rhetorics of which are replaceable
   and interchangeable regardless of where these are being written or read. The date of
   the obituary is always the same as the actual date the text is read on, thus the text
   gains the quality of actuality and credibility at the same time. Furthermore, in order to
   increase the desired artistic effect, the author has put a body-count at the bottom of the
   page, which is incremented roughly every second. Furthermore, there are strong sounds
   of war, such as machine-gun fire, and screams of women and children in the background.

   (Source: Roman Zenner "Hypertextual Fiction on the Internet: A Structural and Narratological Analysis")

   Scott Rettberg - 16.07.2013 - 16:27

9. Paper Wounds

   “Paperwounds,” is an intimate look into the sometimes-surreal, often-manic realm of the suicidal and depressed. It is an intense snapshot of the numerous facets that go into the decision of taking one’s own life, each of its disparate parts aligning to form a piecemeal narrative readers may only ever really guess at in its entirety. Presented as a crumpled up piece of paper, readers “unwrap” the suicide note by clicking on the highlighted/pulsating words within its folds. Doing so exhumes other, shorter notes the writer placed within the virtual letter, each one a different illustration of–perhaps–what drove the fictional victim to this ultimate negation of self. The interface, technological sounds, and brief animations when you mouse over certain texts combined with the ruined state of the materials create a forensic tone for the work, casting the reader in the role of an investigator. The poem may be zoomed in on, zoomed out from, flipped, rotated, dimmed, and made completely invisible–though doing any of the aforementioned does not seem to change the nature of the text at first glance.

   Ian Rolon - 09.04.2014 - 19:44