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open.ended
Author description: open.ended is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.
(Source: Author description, ELC vol. 1).
Eric Dean Rasmussen - 29.04.2011 - 10:01
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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
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Torus
This video provides limited documentation of the
“Torus” project. Unfortunately, however, it does not give a good
impression of the reader’s experience of Torus as an instance of
immersive VR. Constrained by the requirements of Cave technicians, the
video is shot from a single point of view and without the stereo imaging
that would usually be in operation. Moreover, the camera’s point of
view is different and significantly distant from the reader’s point of
view and this compromises the immersive illusion. For example, and most
obviously, planes of text which should appear to extend behind the
reader and out through the screen appear to be folded back away from
both the camera’s and the reader’s point of view. Please bear this in
mind when reviewing this material.A pdf version of the interview is in the Brown Digital Repository (which is supposed to guarantee its links for as long as the institution lasts):
https://repository.library.brown.edu/studio/item/bdr:383674/Rita Raley - 05.05.2011 - 15:06
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_the data][h!][bleeding texts_
"_the data][h!][bleeding t.ex][e][ts" are remnants from email performances devoted to the dispersal of writing that has been inspired and mutated according to the dynamics of an active network. The texts make use of the polysemic language system termed mezangelle, which evolved/s from multifarious email exchanges, computer code flavored language, and net iconographs.
(Source: Author's description from the 2001 Electronic Literature Awards)
The archived version of Fleshis.tics was sponsored by Create NSW - NSW Government.
Rita Raley - 05.05.2011 - 23:18
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Interstitial
David Jhave Johnston’s video-based "Interstitial" is a meditation on terminal anxiety. The title of the piece, which refers generally to that which occupies an “empty interval,” takes on a specific connotation when one considers its popular use in web development contexts for the commercial “pre-loaders” that hawk their wares while one waits for the site to open. The video, which is minimally edited, features three views arranged in triptych form: a cat decomposing in a river, tidal pools, and a bug undergoing metamorphosis. These events, as witnessed by Johnston, are unaltered and unmodified, simply captured where they occurred using handheld equipment. According to an artist’s statement published on Tributaries and Text-fed Streams (http://tributaries.thecapilanoreview.ca/2008/02/22/interstitial/), the web presentation of the files was formatted through the process of naming the discrete video, audio, and poetic text files and allowing software to assemble these pieces into an endless loop.
Patricia Tomaszek - 06.05.2011 - 14:19
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La Resocialista Internacional
Multilingual textworks with translations in Dutch, German, Spanish, Portuguese, Greek and Serbian. Translators: Babelfish( German and French), Portugese: Ana Valdez, Spanish: Isabelle Brison, Serbian: MANIK, Greek: Arelis Eletherios. Based on an original text in Dutch by Judith V. Symbolic English notation: A. Andreas. 2008-2011
Andreas Maria Jacobs - 06.05.2011 - 15:07
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Frequently Asked Questions about "Hypertext"
Frequently Asked Questions about "Hypertext" is a short fiction, in the form of a FAQ document, that revolves around various interpretations of a 69-word poem called "Hypertext." The poem "Hypertext," nominally by "Alan Richardson," is composed from all the hidden words/anagrams contained within the nine-letter word "hypertext." The tongue-in-cheek interpretations of the fictional poem include the perspectives of language poetry, cultural studies, feminism, and transgender studies. Emerging through the interpretations and FAQ answers, however, are the interwoven "real-life" stories of the troubled author and his/her troubled critics. The poem's notoriety creates a fan fiction phenomenon centered around an online database, which, along with its creator(s), comes under attack. As in Nabokov's Pale Fire, pseudo-literary criticism gives way to a mystery story about the real author of the text, transformation and transsexuality, love and murder.
(Source: Author description, ELC 1).
Eric Dean Rasmussen - 09.05.2011 - 12:53
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Generative Poetry
This set of works provides three different and powerful combinations of text, sound, image, and exploded letters, all of which function to cut up and recombine language using code developed for Concatenation. In Concatenation, the machine of the text assembles poems that deal with the ability of language to enact violence; in When You Reach Kyoto, the text and images engage the city and computation; and in Semtexts, combinations work at the level of syllable and letter.(Source: Electronic Literature Collection, Vol. 1).
Eric Dean Rasmussen - 09.05.2011 - 13:47
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Girls' Day Out
This is a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem.
(Source: Author description, ELC 1).from the ELD http://directory.eliterature.org/node/3943
After opening the piece, there are three different links you can click on to read all parts of Kerry's work. The top link, located on the right side of the page is labeled as "poem." The next link is in the middle of the page on the left side and is labeled "author's note." The final link is centered on the bottom of the page and is labeled as "Shards."Eric Dean Rasmussen - 10.05.2011 - 13:09
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[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
