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1. 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

2. Along the Briny Beach

   Along the briny beach a garden grows. With silver bells and cockleshells, cockles and mussels, alive, alive oh. A coral orchard puts forth raucous pink blossoms. A bouquet of sea anemones tosses in the shallows. A crop of cliffs hedges a sand-sown lawn mown twice daily by long green-thumbed waves rowing in rolling rows. The shifting terrain where land and water meet is always neither land nor water and is always both. The sea garden’s paths are fraught with comings and goings. Sea birds in ones and twos. Scissor-beak, Kingfisher, Parrot and Scissor-tail. Changes in the Zoology. Causes of Extinction. From the ship the sea garden seems to glisten and drip with steam. Along a blue sea whose glitter is blurred by a creeping mist, the Walrus and the Carpenter are walking close at hand. A pleasant walk, a pleasant talk along the briny storied waiting in-between space. Wind blooms in the marram dunes. The tide far out, the ocean shrunken. On the bluff a shingled beach house sprouts, the colour of artichoke. On the horizon lines of tankers hang, like Chinese lanterns. Ocean currents collect crazy lawn ornaments. Shoes and shipwrecks, cabbages and kings.

   J. R. Carpenter - 30.05.2011 - 20:53

3. RC_AI

   It was only after I began working with Robert Coover in the Brown Literary Arts program in 1998 that I remembered my father commenting years earlier on Coover's book Pinocchio in Venice. As a foremost Scholar of the Pinocchio story and its appearances throughout history in literature and media, he was impressed with Coover's handling of the archive. My father went on to write about Coover's treatment in a co-authored book, Pinocchio Goes Postmodern: Perils of a Puppet in the United States. 

   RC_AI consists of texts composed by myself and Dr. Thomas J. Morrissey, my father, along with several generative algorithms and loose grammars in collaboration with a substantial portion of Robert Coover's Pinocchio in Venice. The panoramic text is a printed array (approximately 380,000 pixels long - or 422 feet) of variable content generated by parsing through approximately 1/2 of Coover's novel using the author's name as a search string. 

   Scott Rettberg - 18.04.2012 - 00:14

4. There he was, gone.

   How do we piece together a story like this one? A mystery. The title offers more questions than answers. There he was, gone. Where is there? Who is he? Where has he gone? How is this sentence even possible? There he was, not there. As if "he" is in two places and in no place, both at once. The once of "once upon a time." This story has to do with time. This story has to do with place. That much is clear. We take time to look around the story space. What do we see? A corner of a map. An abstraction of a place too detailed to place, unless the places it names are already familiar. Is this a local story then? For locals, between locals… if we do not know the answer to this question, then we are not local. We seem to have stumbled upon an ongoing conversation. Listen. A dialogue of sorts. It's too late. An argument, even. One interlocutor instigates. Can't you feel anything? The other obfuscates. It's only the spring squalls over the bay. All that's not said between these two hangs in a heavy mist, a sea fret low over a small fishing boat turned broadside to a pack of hump-backed slick black rocks. This story is fishing inshore.

   Scott Rettberg - 01.06.2012 - 17:29

5. @Tempspence

   This Twitter character came to life in the “Reality: Being @spenserpratt” netprov, was christened “Tempspence” by Pratt’s followers (as a “temporary” Spencer), and lives on in this Twitter account, along with a community called The Tempspence poets. Their symbiotic existence was sustained by social media interactions of a group of people that came together through this netprov, and extended the life of the performance beyond its metaphorical covers. When “Reality: Being @spencerpratt” ended and everything was revealed, Mark Marino and Rob Wittig did the Twitter equivalent of stepping from behind the curtain to bow and thank the audience, polling them for some of their favorite poetic constraints. The enthusiasm and pleasure in the interactions launched the Tempspence Poets and the poetry games continued in earnest for a while, with @Tempspence as moderator and communication bridge, but it has slowed down almost to a standstill.

   Hannelen Leirvåg - 07.05.2013 - 18:06