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To Touch
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Patricia Tomaszek - 17.09.2010 - 22:09
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reRead
interactive language based installation
Simon Biggs - 21.09.2010 - 12:04
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LYMS
In the video lyms (which is a non-semantic word), I have solved the question of translation in a special way: words in different languages like spanish, french, german, english and scandinavian are put together. None of them have the same meaning, the viewer may just taste on the words. In the first part of the video all the words are starting with f. In the beginning the f's are exposed in a way they constitute different pictures. The system of the expositions are based on how I made concrete poetry in the sixties. Instead of repeating them differently line by line, the new technology allows me to expose them differently through time. Then more and more letters are shown, until all the words are exposed.
Each viewer will have a different experience dependent upon their language background, and the ability to enjoy the poetic combination of the words and the visuality together with the music.
Patricia Tomaszek - 12.01.2011 - 18:22
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"Where you will have been I am..." [not yet found]
"A short, live performance work, the words for which will have been written with and against their Google-indexed networked corpus. The words may ask, 'Where were you, after we heard about the accident but as yet we did not know?' I will ask the audience to make simple gestures in order to hear the language of the piece."
(Source: author-submitted abstract.)
Eric Dean Rasmussen - 20.01.2011 - 18:51
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My Words / Mes Mots
"Your gestures make my words meaningful".
My Words was an ongoing collaborative project which explored the relationship between gesture and meaning in interactive writing.
In this online creation, an interface gave access to several words, each word corresponding to a short interactive scene. In each scene, it was not so much the animation but rather the interaction with the reader, the reader’s gestures, that made the words meaningful. The reader could thus experiment with the meaning of the words, or at least the one given to the words by the authors.
This creation was also an invitation to participate. Through a dedicated tutorial and interface, everyone is able to contribute by adding new scenes. The world of My Words is an expanding world. My Words are everyone’s words.
(Adapted from: Author's Statement)
Eric Dean Rasmussen - 21.01.2011 - 12:28
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The Precession
The Precession is a data-driven networked poem being developed simultaneously as both a large-scale installation and live performance. The work makes use of original writing and real-time data collection to create visual-poetic arrangements based on inquiries into architecture and the night sky. The piece mixes databased sources, real-time interruptions, and algorithmic composition in an evolving ecology.
The Precession considers as a primary source Oskar J.W. Hansen's sculpture Winged Figures of the Republic permanently installed at the Hoover Dam. Hansen's 1935 work commemorates the building of the dam and includes a complex celestial map. Beginning with the date of the dam's dedication, the map contains the data for someone skilled in astronomy to accurately trace the position of the polestar each subsequent night for the next 26,000 years.
The online work, in its current state of development, is mainly time-based taking approximately 20 minutes (with links to individual areas also accessible).
Eric Dean Rasmussen - 24.01.2011 - 17:46
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Connected Memories
This piece is an exploration of oral histories and the use of technology as a participatory and inviting medium to perform and share stories.
It is an interactive piece, which consists of a series of extracts from interviews of refugees living in London and the connection between them. They are compiled in a database and linked by common key words. To represent the fractured realities and the formations of connected memories, the viewers need to interact with the piece by clicking on the coloured activated 'common keywords' in order to generate extracts of narrations from the different participating refugees. As an installation the piece includes a microphone to invite the viewers to read aloud and share with other viewers the experience of performing the work through their reading.
Eric Dean Rasmussen - 25.01.2011 - 18:01
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Newsrub
Newsrub
Eric Dean Rasmussen - 25.01.2011 - 18:04
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Toucher
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)Eric Dean Rasmussen - 21.02.2011 - 14:22
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88 Constellations for Wittgenstein (to be Played with the Left Hand)
Author description: 88 Constellations for Wittgenstein (to be played with the Left Hand) is an interactive, non-linear net.art piece that explores the life and philosophy of Ludwig Wittgenstein through a series of animated vignettes created in Flash. Each of the 88 sections corresponds to one of the 88 constellations in the night sky. Each constellation becomes a navigation device for the viewer to negotiate the associative relationships between these vignettes. As well, viewers can interact with each collaged animation using their left hand to trigger events from the computer keyboard (in homage to Ludwig Wittgenstein's brother Paul (a concert pianist who lost his right arm in WWI but continued his career performing piano works composed for the Left Hand). This work considers questions that Ludwig Wittgenstein pondered in his career as a philosopher: logic, language, the nature of thinking, and the limits of knowledge -- all in relation to our contemporary digital world.
Eric Dean Rasmussen - 21.02.2011 - 16:02
