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  1. La plissure du texte

    A collaborative fairy-tale coordinated by Roy Ascott but incorporating fragments from participants around the globe who sent in their parts of the text on the ARTEX computer network.

    Roy Ascott described this piece in an interview with Südwestrundfunk that is quoted on Media Art Net:

    1983—that was in 1980, I actually set it up—1983, Frank Popper invited me to do a project for a huge exhibition in Paris, called Electra, which was looking at the whole history of electricity right across the spectrum of the arts. And I got rather good funding. I set up this planetary fairytale. We had fourteen nodes across the world, Australia, Hawaii, Pittsburgh, various places, ... Vienna, Amsterdam, and so forth. And to each node I ascribed an archetypical fairytale character. [...]

    Jill Walker Rettberg - 01.11.2011 - 11:14

  2. Invisible Seattle: The Novel of Seattle, by Seattle

    Invisible Seattle: The Novel of Seattle, by Seattle

    Eric Dean Rasmussen - 15.01.2012 - 11:43

  3. Holo/Olho (Holo/Eye)

    Reflection holograms mounted on wood and plexiglass

    Luciana Gattass - 25.11.2012 - 02:18

  4. Infidel

    The player's character is a self-styled adventurer and fortune hunter. He's bitter because he thinks his boss, Craige, should treat him as a partner instead of an assistant. A call comes in while Craige is out checking equipment: a woman, Rose Ellington, wants to sponsor an expedition to discover the pyramid that her archeologist father never found. Egotistical and greedy for fame, the assistant tells Rose that he's capable of taking the job and decides to cut out Craige altogether. (Source: Wikipedia)

    Jill Walker Rettberg - 02.07.2013 - 22:52

  5. Suspended

    The player's character has been embedded within a facility that controls vital systems, such as moving public transportation belts and weather control, for an Earth-settled planet called Contra. During the player's five-hundred-year tenure, the player would normally be kept in stasis while his sleeping mind serves as the Central Mentality for the largely self-maintaining systems. As the game opens, however, he is awakened by severe error messages; something is going wrong. The facility has suffered catastrophic damage from an earthquake, and the Filtering Computers are shutting down or becoming dangerously unstable. The inhabitants of the city assume that the Central Mentality has gone insane and is purposely harming the city, as a previous CM had done. The player's task is to repair the damage and restore the systems to normal states before a crew arrives at the facility to "disconnect" his mind, killing him, to be replaced with a clone.

    Jill Walker Rettberg - 02.07.2013 - 22:55

  6. Enchanter

    Enchanter is a 1983 interactive fiction computer game written by Marc Blank and Dave Lebling and published by Infocom. It belongs to the fantasy genre and was the first fantasy game published by Infocom after the Zork trilogy (it was originally intended to be Zork IV). The game had a parser that understood over 700 words, making it the most advanced interactive fiction game of its time. It was Infocom's ninth game. (Wikipedia)

    Jill Walker Rettberg - 02.07.2013 - 22:58

  7. Planetfall

    Planetfall is a science fiction interactive fiction computer game written by Steve Meretzky, and the eighth title published by Infocom in 1983. Like most Infocom games, thanks to the portable Z-machine, it was released for several platforms simultaneously. The original release included versions for the PC (both as a booter and for DOS) and Apple II. The Atari ST and Commodore 64 versions were released in 1985. A version for CP/M was also released. Although Planetfall was Meretzky's first title, it proved one of his most popular works and a best-seller for Infocom; it was one of five top-selling titles to be re-released in Solid Gold versions including in-game hints. Planetfall utilizes the Z-machine originally developed for the Zorkfranchise and was added as a bonus to the "Zork Anthology".

    The word planetfall is a portmanteau of planet and landfall, and occasionally used in science fiction to that effect.

    Jill Walker Rettberg - 02.07.2013 - 23:25

  8. RACTER

    Racter is an artificial intelligence simulator from 1984. Similar to Eliza, Racter will converse with the user until boredom occurs. However, there's a twist - Racter is not quite sane! This makes for a lot of fun conversation.

    Racter was originally programmed on an early Apple computer. 

    Additional comments by developer William Chamberlain and Thomas Etter:
    RACTER was designed in a tongue-in-cheek manner, using remarkably minimal resources, to amuse and entertain its users, rather than to advance the research in natural language processing. In conversation, RACTER plays a very active, almost aggressive role, jumping from topic to topic in wild associations, ultimately producing the manner of - as its co-creator Tom Etter calls it - an "artificially insane" raconteur. Its authors publicize RACTER as an "intense young program [that] haunted libraries, discussion societies, and sleazy barrooms in a never-ending quest to achieve that most unreachable of dreams: to become a raconteur."

     

    Source: https://www.chatbots.org/chatbot/racter/

    Scott Rettberg - 09.02.2015 - 12:13

  9. Haikai

    Haikai

    Alvaro Seica - 30.04.2015 - 17:54

  10. Runeberg

    A lost work that according to the author's later description of PoemStar (1989) was a meme generator created in collaboration with Pekka Tolonen, the composer and AI expert. From the description of PoemStar:

    The aim of Runeberg was straightout: the computer is a medium and its message differs from the bardic tradition, as that voice-resident and era-active poetry diverses from the printed literature. When Gutenberg & Co invented moveable type they made the literature unmovable. They did more than spring the Bible. Or their invention ultimately provided a meaning-proof shed, an opportunity for the consolidation of language. --Shakespeare jumped on that opportunity. He reconfigured poetry bringing together history, tragedy, and comedy under its roof.

    Poetry in print became more permanet, less permutable: more visual, less aural. But at that time we didn't have a computer to free us from that mental and verbal stiffness.

    Jill Walker Rettberg - 21.05.2015 - 10:53

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