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1. Frequency

   Frequency is a poetry generator written in Ruby, and part of a larger constrained writing process. The lines of all the poems in Frequency are constrained by the fact that I used only 200 of the most common English words in them. The poems generated by Frequency are built from a pool of 2000 lines I wrote. The process of writing the lines was not aided by the machine and was painstaking work. I wrote a set of ten lines beginning with each word, only using the other words in this list in the rest of the line. It is perhaps not unsurprisingly difficult to make meaningful expressions with such a limited vocabulary, but in the end I was surprised by how flexible these base units of our language can be. The poetry generator itself runs from a command line interface, and can algorithmically assemble poems according to a number of different rhyme scheme, syllabic, and spatial criteria.

   Patricia Tomaszek - 04.03.2011 - 22:52

2. lala

   Extracts from Artist's Statement:

   In this piece, I use my childhood doll as an interface for engaging with text projected on a screen. The text is inspired by the types of behaviors a child attributes to her doll or imaginary friend, such as "It wasn't me! Lala was the one who broke the vase." The doll has a sensor inside of her that can detect position, which I use to control the speed of text filling up the screen.

   I used open-source code from Jared Tarbell's site as the basis for the text display. After I figured out how to read values from an accelerometer into Flash, I found a way to control the speed of the text based on the position of the sensor. Simple up-down motion wasn't so exciting, and I hit upon the idea of shaking the doll to "shake" the words out onto the screen - so I needed to capture the rate of change of the sensor's position (thanks Daniel Howe!). mouse-triggered demo page:

   Patricia Tomaszek - 06.03.2011 - 00:30

3. Book and Volume

   An interactive fiction written in Inform and running on the Z-Machine, Book and Volumes simulates an eventful day in a near-present factory town. The interactor is not offered adventure, monsters to defeat, or treasures to find, but a chance to perform the routine tasks of an information-technology worker. As Brian Kerr wrote, "It's about a sysadmin in the weird, charming cyber-Gotham of nTopia who spends the last working day of his/her/its life rebooting servers and reacting to frantic pages from an unseen supervisor. ('Net extremely hoseled. Engine team being hideously masticated by this outage. Demo rapidly approaching. Get to the cages. Reboot the servers. Hasten. Do not rest. Please. All five of them.') What’s the game really about? Knut, a resident of nTopia, pegs it: 'Reality. Illusion. Theme is reality versus illusion. Must discern reality. And illusion.

   (Source: Author's description from the Electronic Literature Collection, volume 2)

    

   Eric Dean Rasmussen - 08.03.2011 - 14:45

4. soundpoems

   These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.

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

   Eric Dean Rasmussen - 08.03.2011 - 15:22

5. Tower

   Simon Biggs with Mark Shovman developed a virtual interactive artwork in response to a commission of the Poetry Beyond Text project. Tower is inspired by the story of the Tower of Babel. Inter-subjective relations are central to this work, which evokes the idea of first-, second- and third-person perspectives. Tower is an interactive work which creates an immersive 3D textual environment combining visualisation, physical interaction, speech recognition and predictive text algorithms. Viewers (or inter-actors) occupy one of three roles: as central inter-actor, wearing a VR head-display, as one of several inter-actors, wearing 3D spectacles, or as spectator, standing outside the interactive zone. The central inter-actor is located at the vertiginous pinnacle of a virtual spiral word structure. When the inter-actor speaks their spoken words appear to float from their mouth and join the spiralling history of previously spoken words. As the uttered word emerges other words, predicted on the basis of statistical frequency within a textual corpus, spring from the spoken word.

   Scott Rettberg - 08.03.2011 - 23:07

6. book review: not a b (pdp remix)

   Favoring statistical innovation, discovery, and transformation of material more than subjectivity, my presentation for TRICKHOUSE, “book review: not a b (pdp remix),” is a software experiment that brings together multiple projects, interests, and themes. This reflection, in part an autobiographical exercise in creating multimedia poetry, does not effectively simulate the more extensive synthesis of related materials I have elsewhere assembled (featuring additional videographic, performative components, and many more poems) but is a decent representation of what I have been working on in 2008. The animation is the latest and longest (approximately 22 minutes, give or take) of a series of text-movies I began creating with Flash in early 2007. Slow scat, and sometimes random juxtaposition, of anagrammatic text derived from the title of a book I wrote, is spontaneously plotted (with assistance from the Internet Anagram server (http://wordsmith.org/anagram/). Works by mIEKAL aND, John Cayley, and Brian Stefans have inspired me to such poesis.

   Chris Funkhouser - 09.03.2011 - 15:30

7. Accidental Meaning

   Interested in the breaking and production of meanings, the non-semantic the visual, the oral, the blank page, the engagement of the reader/user in theshifting from the linguistic to the visual and back. To represent the broken and the formations of new meanings, I create an aesthetic environment consisting of a blank page/screen, inviting the reader/user to click/touch the screen in order to generate words. The installation includes a microphone to invite the users to read aloud and share with other users the experience of performing the work through their oral participation. As the user explores and experiences the work by connecting the random words appearing in the screen and assembling definitions, the accidental position of words produce new relationships, and in doing so, an on going process of meanings, connections and narratives; of shifting from the semantic linguistic meaning to the visual, from the literal, the transparent to the abstract; and simultaneously creating a poetic space of juxtaposed words, layers, and visual textualities.
   

   Eric Dean Rasmussen - 10.03.2011 - 09:41

8. Talking Cure

   Talking Cure is an installation that includes live video processing, speech recognition, and a dynamically composed sound environment. It is about seeing, writing, and speaking — about word pictures, the gaze, and cure. It works with the story of Anna O, the patient of Joseph Breuer's who gave to him and Freud the concept of the "talking cure" as well as the word pictures to substantiate it. The reader enters a space with a projection surface at one end and a high-backed chair, facing it, at another. In front of the chair are a video camera and microphone. The video camera's image of the person in the chair is displayed, as text, on the screen. This "word picture" display is formed by reducing the live image to three colors, and then using these colors to determine the mixture between three color-coded layers of text. One of these layers is from Joseph Breuer's case study of Anna O. Another layer of text consists of the words "to torment" repeated — one of the few direct quotations attributed to Anna in the case study.

   Eric Dean Rasmussen - 10.03.2011 - 10:20

9. Etang

   Author Statement:

   Patricia Tomaszek - 10.03.2011 - 12:13

10. 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

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