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My Name is Captain, Captain
My Name Is Captain, Captain is a collaborative poem written in a language of word and image. The central metaphor is dead reckoning navigation, and the work as a whole has a peculiar relationship to the golden age of flight.
(Source: 2002 State of the Arts gallery)
Eric Dean Rasmussen - 24.02.2011 - 08:23
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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
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Labyrinth: the Rulebook without Game
An ergodic Flash text exploring video game culture through the lens of playable manuals.
How does one read this clever piece, which touches on so many genres, such as poetry, fiction, game, theory, game manual, and codework? It claims to be a manual for an absent game, a bottomless pit, and a labyrinth for readers to get lost, wondering if indeed the game has already begun. The reader inhabits a character from the outset, a 35 year old married man, who can take on different roles in games belonging to popular RPG and videogame genres: science fiction, spy thriller, fantasy, and labyrinth exploration. Most of the writing is in the tradition of game manual for these types of games (here’s an old favorite) which at their best help immerse the readers into the world of the game and can be more fun than the game itself. In the case of tabletop RPGs, like Dungeons & Dragons, the game is the rulebooks, and all it requires is players and some dice for the necessary randomizations— making them good recipients of the label “cardboard computers,” as Matthew Kirschenbaum has used for tabletop wargames.
Mark Marino - 28.03.2011 - 16:12
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Accounts of the Glass Sky
In this Flash hypertext, Coverley weaves a tapestry of text, image, and sound, telling a California story that many readers can relate to. In this piece, the sky itself is the center of a meditation on memory and loss across decades of human experience. The same "blue sky" that often refers to people's wildest dreams now comes to represent boundaries and fears.
(Source: Electronic Literature Collection, Vol. 1.)
Eric Dean Rasmussen - 18.04.2011 - 11:07
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Storyland
Storyland (version 2) is a randomly created narrative which plays with social stereotypes and elements of popular culture. Each sentence is constructed from a pool of possibilities, allowing each reader a unique story. The reader presses the "new story" button, and a story is created for that moment in time. It is unlikely that any two stories will be identical. Storyland exposes its narrative formula thus mirroring aspects of contemporary cultural production: sampling, appropriation, hybrids, stock content, design templates. It risks discontinuity and the ridiculous while providing opportunities for contemplation beyond the entertainment factor.
The computer-generated combinatorial story is one of the oldest forms of digital writing. Storyland, with its simple circus frame, plays with this tradition by performing recombination of the sort seen in cut-up and in Oulipian work. The system repeatedly plots amusingly repetitive stories, inviting the reader to consider, to read its scheme for composition.
(Source: Author description, Electronic Literature Collection, Vol. One).
Eric Dean Rasmussen - 28.04.2011 - 14:57
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Clues
Clues explores the nature of communication, knowledge, and identity through the language and postures of mystery fiction. It's a metaphysical whodunit that invites you to solve the mystery by uncovering clues linked to images throughout the work. The search becomes a game that leads you down wooded trails, back alleys, and empty hallways. Which characters should you pursue? Which objects should you investigate? To win the game, you must separate all the clues from the red herrings. Your final score determines the outcome of the text. But is the mystery really soluble? Is winning actually better than losing? Are the answers or the questions more revealing?
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 16.06.2012 - 11:45
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Ghost City
Ghost City is a website that focuses on the representation of the city by the mass media. It uses the space of the web as a sculptural space, allowing viewers to interact with animated graphics to delve deeper and deeper into an imaginary city.
Ghost City is a labyrinthine environment through which viewers can navigate, either following the linear narrative that unfolds by moving from page to page, or they can delve into the non-linear chaos of random links. Each space is made up of appropriated images and texts. The images are culled from various print media sources. The texts are either found passages from urban theory or specifically written poetic musings on the city.
Scott Rettberg - 20.10.2012 - 15:06
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Developing: the Idea of Home
If, as Henri Lefebvre asserted, "spatial thinking" involves several different ways of conceptualizing space-as idea, as lived, as imagined-then perhaps an open system of examples can generate new ideas about "home" in the future. This is an experiment in reading; the CD-ROM is organized in an associative manner, since the subject radiates in so many different directions. There is obviously a "direction" here, that is no hidden-but the user may peruse and reconnect the fabric of the piece in many different ways. And, if our habitat may be located within a given social order, defined by economics, culture, and history, these forces must be viewed as interacting, rather than fixed.
Scott Rettberg - 13.01.2013 - 21:48
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Speak: a Hypertext Essay
This modest work is an essay which engages non-linear narrative and includes multimedia elements such as sound and image. The title is taken from Gayatri Spivak's essay, "Can the subaltern speak?." Variously, postcolonialism and feminism as discourses of 'otherness' have addressed the notion of 'speaking' and 'speaking position', asking questions such as 'who speaks for whom?', 'who is authorised to speak'. Such questions displace the idea that the 'other' is absent or silent, or that the 'other' is indeed 'other'.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 22:40
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CHAOSity
One challenge of General Education is that of finding ways to develop student interest in, and enthusiasm for, reading written texts or critically viewing visual texts. CHAOSity was created to address that issue. CHAOSity is a collaborative, original cultural work that involves individual readers as co-creators. CHAOSity questions the "linear, rigidly logical development of plot" and the "facile interpretation of life's complexities" that strict adherence to linearity, what author Carole Maso calls "the tyranny of narrative," can imply. The resulting multi-threaded story, told in text, animation, images and sound, permits both linear and nonlinear reading. CHAOSity includes 49 prose/poems Flash movies, 49 event sounds and legend.
(Source: ELO 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 18:39
