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Diagrams Series 6: 6.4 and 6.10
Diagrams Series 6 is the latest in a life-long series of Diagram Poems, the earliest experimentations for which began in 1968. Although I have been making interactive works since 1988, Diagrams Series 6 is actually my first work written in a fully interactive way: from beginning to end in one interactive environment where the word object is playable at every stage of its development, from temporary unassembled scrap all the way to its final location in a finished piece. This environment is part of an ongoing project which I call Hypertext in the Open Air, implemented in a programming system called Squeak. It allows the works to be played on all popular computing platforms, including Macintosh, BSD, Linux, and Windows. Diagrams Series 6, consisting of the works 6.4 and 6.10, strives to return to the intense diagrammicity of some of my earlier non-interactive works, Diagrams Series 4 and Diagrams Series 3. The diagram notation acts as a kind of external syntax, allowing word objects to carry interactivity deep inside the sentence. Interactivity, in turn, allows for juxtapositions to be opened so that the layers in cluster can occupy the same space and yet be legible.
Patricia Tomaszek - 11.01.2011 - 12:42
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True North
This description comes from Rebooting Electronic Literature Volume 2:
Stephanie Strickland's True North came out in 1997 in two formats. First, it was published as a print book of poetry by the University of Notre Dame Press and won––that same year––the Poetry Society of America's Alice Fay Di Castagnola Award and the Ernest Sandeen Poetry Prize. It also appeared as a hypertext poem released on floppy disk for both PC and Macintosh computers by Eastgate Systems, Inc. As Strickland states in her “Prologue,” work on True North began in 1995 at N. Katherine Hayles's National Endowment for the Humanities Summer Seminar but originally was conceived over a decade earlier when, influenced by the writings of Simone Weil, she developed an interest in finding a woman’s language.
The editions and versions include:
Print Edition
Jill Walker Rettberg - 14.01.2011 - 12:11
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oooxxxooo
Cycle of interlinked poems, combining ascii art layout with concrete, hypertextual poetry.
Jill Walker Rettberg - 02.02.2011 - 22:46
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The Ballad of Sand and Harry Soot
A hypertext ballad metaphorically exploring the relationships between people (Harry Soot) and machines (Sand).
Jill Walker Rettberg - 23.02.2011 - 22:15
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Disappearing Rain
Deena Larsen's Disappearing Rain is one of the major works of web-based digital narrative, written in 2000. It is studied in various universities worldwide and has been critically reviewed by scholars in the field of digital fiction. In essence, the plot revolves around the disappearance of Anna and her family’s attempts to piece together what has happened to her: "The only trace left of Anna, a freshman at the University of California, Berkeley, is an open internet connection in the computer in her neatly furnished dorm room." The detective story unwinds, one link at a time, but even as readers explore Anna's disappearance, Larsen also orchestrates our own disappearance in the virtual reality of the Internet.
Jill Walker Rettberg - 23.02.2011 - 22:27
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The Last Performance
Author description: The Last Performance [dot org] is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community. The visual architecture of The Last Performance [dot org] is based on research into "double buildings," a phrase used here to describe spaces that have housed multiple historical identities, with a specific concern for the Hagia Sophia and its varied functions of church, mosque, and museum. The project uses architectural forms as a contextual framework for collaborative authorship. Source texts submitted to the project become raw material for a constantly evolving textual landscape.
Eric Dean Rasmussen - 24.02.2011 - 08:10
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My Name is Captain, Captain
My Name Is Captain, Captain is a collaborative poem written in a language of word and image. The central metaphor is dead reckoning navigation, and the work as a whole has a peculiar relationship to the golden age of flight.
(Source: 2002 State of the Arts gallery)
Eric Dean Rasmussen - 24.02.2011 - 08:23
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Rice
Rice is a hypertextual anthology of poems focusing on my experience as a Western tourist in Vietnam. Issues of colonialism, war, poverty, and cultural difference arise. Technically and aesthetically, Rice belongs to an early period of web-based poetry. It uses Shockwave, popup windows, and frames. (Source: Author description from ELC 1)
Eric Dean Rasmussen - 24.02.2011 - 19:11
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The Inframergence
The outer interface of this work is a spiral of buttons, each of which leads to an interactive screen. Beginning at the outside, the screens consist of overlaid polylinear skeins. Each skein has an “obverse,” which goes in the opposite direction. As the reader proceeds through the spiral to the center, nonlinearity emerges. The skeins become more concentrated and are then replaced by clusters; the clusters then clump together into structures, in which some elements are dominant over others; and eventually a full diagrammatic syntax appears, in which any element can be connected to any other using the full complexity available to networks.
(Source: Jim Rosenberg in http://www.giarts.org/article/travels-contemporary-new-media-art)
Patricia Tomaszek - 04.03.2011 - 22:19
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l0ve0ne
L0ve0ne (Eastgate Web Workshop) was first told as an additive social networked story, on the Interactive Conference on Arts Wire, beginning in the fall of 1994. Each lexia was posted as a separate entry on the conferencing system. Portions of L0ve0ne were ported in different forms in servers all over the country, including the Arts Conference on The WELL. The story integrates hacker culture, early Internet technologies, a German "road trip"; and a love story that continues in Malloy's The Roar of Destiny. The first person is used, as it is in many of Malloy's other works, as a narrative device that not only effects the telling, in that it allows the writer to disclose the details of the main character's life in an intimate way, but also effects the reading, in that it situates the reader directly in the main character's life and environment.
Eric Dean Rasmussen - 14.03.2011 - 11:37
