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Translation
Author description: Translation (version 5) investigates iterative procedural "movement" from one language to another. Translation developed from an earlier work, Overboard. Both pieces are examples of literal art in digital media that demonstrate an "ambient" time-based poetics. As it runs the same algorithms as Overboard, passages within translation may be in one of three states — surfacing, floating, or sinking. But they may also be in one of three language states, German, French, or English. If a passage drowns in one language it may surface in another. The main source text for translation is extracted from Walter Benjamin's early essay, "On Language as Such and on the Language of Man." (Trans. Edmund Jephcott and Kingsley Shorter. One-Way Street and Other Writings. 1979. London: Verso, 1997. 107-23.) Other texts from Proust may also, less frequently, surface in the original French, and one or other of the standard German and English translations of In Search of Lost Time. The generative music for translation was developed in collaboration with Giles Perring who did the composition, sound design, performance, and recording of the sung alphabets.
Eric Dean Rasmussen - 08.02.2011 - 17:12
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Regime Change
Textual instruments make text playable in a new way. At first, as one encounters their workings, they are toys for exploring language — more flexible than link-node hypertext, more responsive than batch-mode natural language generators. With growing experience, these instruments can also become tools for textual performance. Regime Change begins with a news article from April 2003, following the bombardment that began the U.S. invasion of Iraq. George W. Bush cites "eyewitness" intelligence that Saddam Hussein was assassinated by targeted U.S. bombing and clings to the contention that the Iraqi president was hiding "weapons of mass destruction." Playing Regime Change brings forth texts generated from a document that records a different U.S. attitude toward presidential assassination and eyewitness intelligence — the report of the Warren Commission. This instrument operates using the statistics of n-grams, a technique used for textual games for more than 50 years, beginning in Claude Shannon's 1948 A Mathematical Theory of Communication.
Eric Dean Rasmussen - 28.04.2011 - 08:44
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The Set of U / La Série des U
The Set of U is a typical example of adaptive generation. It is an association of a combinatory generator of sound and a syntactical animation of text that changes its tempo according to the speed of the machine. So, it is not possible to synchronize the sound and the visual. But the reader often has the impression that the sound is designed for the visual process. This result is obtained by a programmed communication between the visual and the sound that uses programmed meta-rules in order to preserve the perceptive coherence. These meta-rules also create a new kind of non-algorithmic combinatory generator by focusing the attention at different moments of the reading. In this situation, the sense created by reading can vary slightly from one reading to another. The reader himself makes this combinatory by rereading. So, this work is interactive, not by managing input devices but through meta-rules. Meta-rules are not "technical rules," but the expression of a complex esthetical intention that lies in programming and can only be perceived by looking at the program.
Eric Dean Rasmussen - 28.04.2011 - 15:25
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Oulipoems
Oulipoems is a series of six interactive poetry Flash works, ranging from electronic poems, to games, to a tool for generating and writing poetry using the vocabulary of a variety of poets. The pieces are loosely based on the Oulipo movement in French literature, which focused on texts based on constraints (for instance, Perec's famous novel A Void, a lipogram in which the letter e does not appear) and also on mixtures of literature and mathematics.
Eric Dean Rasmussen - 08.11.2011 - 16:25
