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1. New Word Order: Basra

   New Word Order: Basra [NWO] is a mod for the game Half-Life, consisting of a playable map and custom textures. Gaming is the largest demographic of new media usage, and Half-Life stands out for its combination of first-person shooter action and compelling story. It remains the most popular online multiplayer game. Every object in Half-Life is either shootable or background. What if the objects are words? How does language play into your interactions in the violent world of the game? The text in NWO is composed of phrases from "Introduction to Poetry," a short poem from former US Poet Laureate Billy Collins. The thematic violence in Collins' poem resonated through the creation of NWO in early 2003, during the second invasion of Iraq. When you enter the map you see words hanging in the air. You can jump and climb on them, you can run along the tops, you can keep playing and wandering in the space. You soon attack the words. You use the broken words as a reduced and processed writing. Break the words, destroy the letters. NWO, along with every game and every image, is about the re-circulation of bodies and interpretive agendas.

   Eric Dean Rasmussen - 21.02.2011 - 10:13

2. Palavrador

   Palavrador is a poetic cyberworld built in 3D (Palavrador comes from the Portuguese word palavra, which itself means "word"). Directed by Francisco Carlos de Carvalho Marinho (Chico Marinho), it was nonetheless conceived and implemented as a result of synergetic collective assemblage of ideas and activities of a wider group of authors with backgrounds in the arts, literature, and computer science. Six flocks of meandering poems autonomously wander through the three-dimensional space. The readers may choose how many flocks of poems they want to see wandering through the environment, and the poems (botpoems) are able to turn around obstacles to keep their unveiling cohesion while moving through the space. The logic of movements was implemented using artificial intelligence procedures based on swarm behavior and steering behaviors of autonomous locomotion agents. Among the virtual objects of the Palavrador there is a labyrinth whose architecture is generated by mathematical procedures (fractal). There are also video poems, the sounds from which are modulated in relation to the distance of the readers, thus creating an immersive journey with a musical dimension.

   Scott Rettberg - 15.04.2011 - 15:26

3. mar puro

   Description from artist´s website: This piece is based on a collection of poems by the Spanish poet Carmen Conde (1907-1996). I created an ocean journey with Conde’s words
   as the white crests of waves crashing onto a new shore.

   Patricia Tomaszek - 05.05.2011 - 14:41

4. TLT vs. LL

   The z dimension in this work is important to the conceptual as well
   as the physical operation of the work. Normally, I am not so much
   concerned beyond the xy. My work is first graphic, then literary,
   interactive, and whatever else, so a concern beyond 2D is not high
   priority – until now, and with thanks in part to Rita Raley’s z
   queries.
   The idea of 'versus' (as opposition) demands at the
   least two sides, so, it could be represented visually with just xy.
   Previous 'dual' examples (and these are xy representations):
       warnell.com/pbn_io/dialog04.htm. Subject: dialog
       Email from John Cayley (/w Rita Raley), 2004
       warnell.com/real/dialog.htm. Dialog
       Email exchange with visual poet Jim Andrews, 1997
   So, thinking along that z line... the opposition
   comes not from the left or right, but from back to front ( 1 white from
   9 x white moves to top )
   

   Rita Raley - 05.05.2011 - 14:56

5. five by five

   This series of spatially combinatorial poems are built by arranging words on a five by five three-dimensional grid, using the same engine as in “I, You, We.” Readers can manipulate the object in several ways, zooming in and out and rotating the cube to allow certain phrases to come to the foreground and be read. There is always a word around which the rest of the cube rotates, giving it special meaning within the potential phrases the cube can produce.

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

   Rita Raley - 05.05.2011 - 15:12

6. [theHouse]

   [theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.

   Eric Dean Rasmussen - 10.05.2011 - 13:15

7. lens

    lens began as a study piece relating to work-in-progress for the four-wall VR Cave at Brown University. It demonstrates how literal materiality - the surfaces of letters composing the texts of 'lens' itself - can, in a simple illusory 3D space, subvert our familiar experiences and assumptions concerning surfaces of inscription. For example, by making a letter large enough within the programmatic structures of lens, the region of colour defining the letter-shape becomes an entirely different type of surface - it becomes a surface of inscription for other texts that had been perceived 'underlying' it. In doing so, literal surfaces subvert our experience of space and relative distance. Surfaces that were 'in front' now form surfaces for other texts. They may even become other 'spaces' within which writing drifts. Letters both delineate and redefine spatial relationships.

   Scott Rettberg - 23.05.2011 - 13:53

8. Between Treacherous Objects

   This sequence of poems arranged on three dimensional environments explore conceptual spaces between words. Each poem begins with a sequence of two words which are then represented pictorially on a virtual space, one in the front and another at the end of an open 3D tunnel, similar to the first version of Dreamaphage. As the reader navigates the diverse, visually engaging, and occasionally dizzying environments she encounters poetic texts, e-mail addresses, and passwords that provide access to short videos. (Source: Leonardo Flores, I ♥ E-Poetry)

   Scott Rettberg - 16.06.2012 - 01:51