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Book Unbound
Abstract: “Book Unbound” is a “collocational cybertext,” a self-assembling poetic collage that can be read in two ways: either automatically in the “bound” mode, or in an “unbound” mode that allows readers to extract and recycle words from its recombinant text stream. The present version is a HyperCard stack (Mac only, HyperCard program not required) available for downloading. –Editor
Post Modern Culture
https://www.pomoculture.org/2013/09/21/book-unbound/
Editor’s Note: “Book Unbound” is a HyperCard stack. The present version runs only on Apple Macintosh computers. Activate one of the links below to download a compressed, binary version of the stack (a self-extracting StuffIt archive). If you are using a correctly-configured graphical browser, the file should be converted and decompressed file automatically. If it does not, save the file, convert it with BinHex then double-click to launch the self-expanding archive. If you own a copy of HyperCard, download the stack only (120k). If you do not own HyperCard, download the stand-alone application (676k).Jill Walker Rettberg - 18.02.2011 - 15:16
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Sea and Spar Between
Sea and Spar Between is a poetry generator which defines a space of language populated by a number of stanzas comparable to the number of fish in the sea, around 225 trillion. Each stanza is indicated by two coordinates, as with latitude and longitude. The words in Sea and Spar Between come from Emily Dickinson’s poems and Herman Melville’s Moby Dick. Certain compound words (kennings) are assembled from words used frequently by one or both. Sea and Spar Between was composed using the basic digital technique of counting, which allows for the quantitative analysis of literary texts.
(Source: Authors' abstract at Dear Navigator)
Scott Rettberg - 16.03.2011 - 17:05
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Window
As a poetic mediation on place and experience, Window encourages you to explore the things at the edges. The ordinary moments—sounds, sights, memories, thoughts—that make an environment familiar, that make it ‘home’. My inspiration came, and continues to come so often, from John Cage—and I made this work in 2012, the centenary of his birth. His music, writing, and thinking—the way he lived his life—are a wondrous integration of art and ordinary experience. Interwoven with fragmentary texts, themselves hidden at the edges, and only available through exploration, are a separate series of short essays. Some are about John Cage and some are personal reflections as I looked, listened and collected the sounds and images that provide the material for this piece. I did this over a period of a year—listening, looking, snapping photos and recording sounds. Arranged in ‘months’, there are various ways to interact with Window. The choice is yours—listening, reading, looking, and travelling from one time of year to another. For each month the images and sounds were actually recorded in the month concerned.
Scott Rettberg - 01.12.2012 - 12:50
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Arrested
Arrested" is a play on preconceptions regarding social, ethnic, religious, and political affiliations.
Artist Statement
Although created ten years ago "Arrested" continues to comment meaningfully on the phenomena of social classification and judgment (seemingly) inherent in human society. What makes the project particularly interesting and poignant is that it encourages reflection on the systems of labeling and judgment that are both internal and external (to the self), and invites readers to observe their own biases (with a possible chuckle)."Arrested" employs a flipbook format in which offenders and offenses are randomly culled from database repositories. The flipbook's random display of elements offers up individualized texts to each audience. These in turn provide the opportunity for individual interpretation (internal visualization) and subsequent contemplation.
"Arrested" is both serious and silly. It is the intermingling of these that potentially provides the impetus for change in regards to awareness of/attitudes towards difference, and fears associated therewith.
Scott Rettberg - 09.01.2013 - 20:54
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COG (I)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 19:19
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Alter ego
Combinatory poem. The date (2006) is estimated. Archive.org first crawled this website in 2007, but Giovanna di Rosario writes in her dissertation that she accessed the wrok in 2006 (p 123).
Jill Walker Rettberg - 28.06.2013 - 22:30
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You and We
You and We allowed web visitors to upload texts and images, which were then randomly juxtaposed by the web-based application in time with music. As of July 2013, the piece no longer functioned in the browser.
Scott Rettberg - 09.07.2013 - 15:35
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Ulysses 101
Comme son titre l'indique, Ulysses 101 est une adaptation transmédiatique du roman de James Joyce publié en 1922, et dont les événements relatés se déroulent le 16 juin 1904, soit 101 ans avant la mise en ligne de l'oeuvre hypermédiatique. Sur un fond blanc, trois fenêtres carrées sont juxtaposées horizontalement afin de constituer un bandeau. Un nombre est attribué à chacune des fenêtres, la première est identifiée par « one », la seconde par « zero » et la dernière à nouveau par « one », transformant ainsi l’écart initialement noté (101) en nombre binaire (101, c’est-à-dire 5). Ces fenêtres renferment deux types de contenu, soit de courtes séquences filmées et des extraits de texte disposés adroitement. Le triptyque qu’elles constituent est aléatoire. Les séquences filmées offrent tour à tour des images d’une femme interviewée dans un café, d’une chaise berçante juchée sur un meuble en bois, d’un homme attablé dans un café et dessinant sur les pages d’un cahier, d’une porte couverte de graffitis qui s’ouvre en grinçant, de gens marchant la nuit dans les rues de Québec, d’une femme jouant de l’accordéon dans un local, etc.
Jill Walker Rettberg - 26.08.2013 - 10:01
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Don't Let the Pigeon Run This App!
This adaptation of the prize-winning children's book "Don't Let the Pigeon Drive the Bus" is a combinatory work where children can choose between three options. The "Egg" mode generates a story without input from the child. The "Chick" mode lets the child choose from sets of objects and goals, for instance, "Complete this sentence: The Pigeon wants to... rule the world / drive a bus / eat your dinner." The story is then told with the child's choices inserted. In the "Big Pigeon" mode, the child can record their own story elements and a story is generated using the child's voice along with the pre-recorded audio.
Jill Walker Rettberg - 02.09.2013 - 11:09
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Locutions Introuvables
“Locutions introuvables” is a literary program inspired by Marcel Bénabou’s Ouilipien method published in The Oulipien Library N.25 in 1984. This program was presented in the “Les Immatériaux” exposition of the Centre Pompidou in 1985, but it was Éric Joncquel who ported it to the website ALAMO (l’Atelier de Littérature Assistée par la Mathématique et les Ordinateurs). The program is also inspired by the notion of “langage cuit” (over-done language) by Robert Desnos. Entitled “Quinze locutions introuvables, mais qui doivent enrichir notre sagesse” (15 lost expressions, but that ought to enrich our wisdom), this program takes one hundred and forty expressions and cuts them up into two parts and recombines them in order to form original expressions. Thus, the “head” and the “tail” of the expressions are mixed up to create lexical chimera. The program works by composing expressions randomly. That is to say, the creation of these “lost expressions” is a function of the combination of different elements that provides the reader with the opportunity of interpreting the text, or rather the scripton, in a personal manner.
Jonathan Baillehache - 01.09.2014 - 19:16
