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1. Deep Surface

   Deep Surface is the monstrous progeny of a strange romance between a reading machine and a free-diving simulator. Literature at crush depth. Hypertext gets wet. Generically, it is yet another instrument: one of those things you can play (or play with), without playing a game. There are rules here, and procedures, and (as in Real Life) a more or less invisible scoring system; so astute players may be able to invent clever and even elegant strategies. But if you're not feeling astute, you can plunge in and have a dip, immersing yourself in what signs and symptoms may present themselves as you pass by, dreaming perhaps of meaning... till robot voices wake you, and you drown.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Eric Dean Rasmussen - 20.02.2011 - 14:26

2. my Molly (departed)

   my Molly (departed), formerly titled Twittering, is a textual instrument designed as a performance application. The pieces remixes text, image, audio, and video triggered through keyboard interaction. The work has been performed at the OpenPort Performance Festival (Chicago), ePoetry 2007 (Paris), The Codework Workshop (West Virginia University), The Electronic Literature in Europe Conference (Bergen Norway), and the Interrupt Festival (Brown University).

   The piece coexists with a novel (Free Dogma Press) that was written simultaneous to the development of this work. Where the novel plays on aspects of time, and draws from sources such as Joyce, Strindberg, Beckett, Dante, among others; the hypermedia textual instrument combines these in a more immediate, collapsed manner.

   Eric Dean Rasmussen - 09.03.2011 - 14:52

3. A Pen

   “A Pen” is an exploration of text as a tool for writing, rather than as the result of writing. It is about the interpenetration of code and language in programmable media to imbue letters and words with behaviors, allowing the poem to emerge from their play. It is about creating tools for the readers to become involved in the process of shaping the poems that arise from these processes. Last but not least, it is a further development in Jim Andrews’ lifelong exploration of the visual characteristics of written language, and the capabilities of computers to both render it and reinvent statuesque letters as dancing signifiers that respond to input from the reader. (Source: Leonardo Flores)

   Scott Rettberg - 09.01.2013 - 14:19