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1. Brainstrips

   Brainstrips, a series of comic strips for the web, explores key concepts in philosophy, science, and math. Each work is created in Flash and includes text, animations, audio, and video. "Deep Philosophical Questions" (2008), answers six important questions that slip between the cracks of serious philosophy, into a place where logic and pedantry have no play. This work uses copyright-free comic strips from the Golden Age of Comics (American comic books created in the 1930s and 1940s). The strips have been re-colored and digitally edited to enhance their clarity and to accommodate new dialog boxes and Flash animations. "Science For Idiots" (2009), explains some of the greatest science puzzles of our time. This work uses comics and clipart images that have been digitally edited and then animated to create a multimedia story event for the viewer. Sound is also an integral part of the story, and it has been layered into each segment of the piece. The final result is a dynamic visual and auditory experience for the reader, and a closer look at the potential within animated strips on the web.

   Eric Dean Rasmussen - 18.02.2011 - 21:30

2. of day, of night

   of day, of night is an experimental interactive narrative / hypertext/ electronic literature work produced in Macromedia Director 6.0 by Australian artist Megan Heyward that fuses moving image, literary, game and interactive aesthetics into interactive digital form. It received initial production funding of $76K AUD from the Australian Film Commission (now Screen Australia) in 1999 and was exhibited internationally from 2001 to 2013 and published by Eastgate Systems, Inc. in 2004. To date, it is the only interactive narrative/ hypertext developed by a writer from outside North America.

   The plot of the story involves a woman who has lost the ability to dream. She sets a series of creative tasks in order to start dreaming again; such as finding and collecting objects from various locations in the DAY (a street, market, river and café), imagining their fictional traces and histories, and rearranging the objects. As the user traverses the work, objects, memories and histories collide and create new meanings in the regained dream environment of NIGHT.

   Jill Walker Rettberg - 27.07.2011 - 15:32

3. Eight Was Where It Ended

   The piece is a short poem written using a nested series of file folders on a computer desktop. The process of composition is animated, with a total run time of two and a half minutes followed by a pause before repeating. A scripting agent running on the command line controls a Finder window view of the desktop as folders are created, renamed, reshuffled, and nested within one another, forming the poem. What is presented is not a video recording - it runs live on the desktop file system in the gallery. The viewer watches as the poem is written in folders, expands, is dated and sorted into its final form, and finally disappears to start again.

   The work "Eight was where it ended" explores one story from the community of "Angel Baby" mothers - online communities dedicated to grieving for their unborn children in ways not afforded by society at large. It explores this identity position through the medium of digital file systems, in particular their embedded modes of representing temporality, the visible, and the hidden.

   Eric Dean Rasmussen - 23.04.2012 - 14:05

4. Palimpsest

   “Palimpsest” is an audiovisual work exploring the space between sound and image through collaboration. Two distinct narratives, audio and visual, collide to find alternative paths and perspectives around a virtual light sculpture. The piece reinterprets one of a series of photographic light paintings taken during a drive at night [see image 1]. The photographs were experiments: improvisations with long exposures, motion and gesture. As images in themselves however, the collaborators found them to be engaging both visually and conceptually. Visually they bring to mind the poetic: the camera has captured ethereal light trails drawn by the motions of passing traffic in mid-air, giving them an almost sculptural quality. They suggest contours, energies, volumes and spaces that are open to further exploration and interpretation. Conceptually, their contradictory nature seems to suggest ideas of the interstitial - the space or place in-between things - or what Duchamp termed the “infrathin”. The light-forms captured in the image, exist in-between the real and the virtual, brought together in a moment by the camera.

   Meri Alexandra Raita - 18.06.2012 - 19:22