Search

The search found 6 results in 0.01 seconds.

Search results

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. Endemic Battle Collage

   Endemic Battle Collage is a set of decades-old digital poems originally written in Apple Basic and incorporating both movement and sound within their bounds.

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

   Scott Rettberg - 15.04.2011 - 14:01

3. mémoire involuntaire no. 1

   This text begins as a short memory, recalled and composed by the author. Periodically and involuntarily the words are replaced in real-time by synonyms and coordinate terms extracted from the Wordnet database. After a certain amount of time has elapsed the text enters a second state where it attempts to "remember" its original form, where the text longs to reconstruct the original memory as it was first remembered and composed. In this state (in which it ceaselessly remains), the text attempts to cycle back through the word replacements and is more likely to "remember" than "forget," although there exists the possibility that the text will drift toward new replacements, new significations. As Walter Benjamin once wrote, "Memory is not an instrument for exploring the past but its theatre." Indeed, this text is an experiment in the involuntary performance of memory - forever departing from the moment of its inscription while forever attempting to return to the script and source of its unfolding.

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

   Scott Rettberg - 15.04.2011 - 15:14

4. Reconstructing Mayakovsky

   Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.

   Scott Rettberg - 15.04.2011 - 15:38

5. Ah (a shower song)

   Ah articulates a simple paradox of reading animated digital literature, which is that the eye, and by extension the mind, often has no sense of the future of a sentence or line of text and, more importantly, is not given the chance to retread an already witnessed word or phrase. Young-Hae Chang Heavy Industry's Dakota is a perfect illustration of this principle. In Ah, the central object of rumination is Einstein, but just as the physicist pondered the numberless variations between the presence of a "1" and "0," this Flash animation brings us back and forth between clever articulations and the ambiguous expressivity of single letters and syllables.

   Marije Koens - 25.07.2012 - 11:47

6. Ah

   Ah articulates a simple paradox of reading animated digital literature, which is that the eye, and by extension the mind, often has no sense of the future of a sentence or line of text and, more importantly, is not given the chance to retread an already witnessed word or phrase. Young-Hae Chang Heavy Industry's Dakota is a perfect illustration of this principle. In Ah, the central object of rumination is Einstein, but just as the physicist pondered the numberless variations between the presence of a "1" and "0," this Flash animation brings us back and forth between clever articulations and the ambiguous expressivity of single letters and syllables.

   Hannah Ackermans - 02.12.2016 - 11:13