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P.o.E.M.M.
A compilation of broken poems, P.o.E.M.M. Poems for Excitable [Mobile] Media is designed explicitly for mobile media. The poems cannot be read without touching the screen, an experience that creates excitable stimulation. The letters and words of the poems float in the background, waiting for the user to snatch them up with their fingers. One line at a time, the user can grab the words and align them on the screen. The lines can be arranged in any order, and so the user must piece together both their meaning and the structure. Lewis and Nadeau built the interface filled by these works and poets: “What They Speak When They Speak to Me” by Jason E. Lewis, “Character” by Jim Andrews, “Let Me Tell You What Happened This Week” by David Jhave Johnston, “Muddy Mouth” by JR Carpenter, “The Color of Your Hair Is Dangerous” by Aya Karpinska. Annotated by Greg Philbrook.
(Source: Description from the Electronic Literature Exhibition catalogue)
Meri Alexandra Raita - 05.02.2012 - 16:22
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We Descend: Archives Pertaining to Egderus Scriptor, Volume Two
Every writing addresses someone; this someone is often said to be the author's Ideal Reader. But "ideal" connotes a conceptualized, even perpetrated entity that is an entirely different creature from the real person one addresses when speaking. Now it may be useful to make this distinction in order to discuss, in the abstract, the *process* of writing, but the *practice* is wholly different: in writing anything, you address a real person, and, by addressing, conjure that person into your presence — the "materiality" of this being is, well, immaterial. When a real reader (in contrast to an ideal one) takes up an author's writing, she encounters not a voice speaking to *her*, or not to her directly: she comes in on a conversation already in progress, between the author and the person he is addressing in the writing. Given a sense of the occasion she has just joined, she will wisely keep still at first and pay attention, not just to the author's voice, but also to the silence of the other person listening to him at that moment. Thus she comes to know them both.
Eric Dean Rasmussen - 14.06.2012 - 16:09
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Inkubus
You're a teenage girl, connected, clued-in, but what lurks in the deepest, darkest regions beyond the screen? A first-person coming-of-age story-game. ( Source: Andy Campbell ) A first-person playable coming-of-age story, in 2D and 3D, that centres on a teenage girl, immersed in contemporary digital culture. With creeping awareness, she / the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that literally threatens to drain her of life. ( Source: Patricia Tomaszek ) Inkubus is a first-person playable coming-of-age story, in media-rich 3D, about a contemporary teenage girl, who’s connected and clued in. But what lurks in the deepest darkest regions beyond the screen? The story-game progresses via skewed and leading questions, designed to distort the girl's behaviour, before being drawn into a visceral labyrinth where a malevolent force peddles a destructive artificial feminine ideal.
Andy Campbell - 18.01.2014 - 01:12
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Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.
Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
mez breeze - 05.05.2014 - 12:45
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Etheric Ocean
Ether is a hypothetical medium – supposed by the ancients to fill the heavens, proposed by scientist to account for the propagation of electromagnetic radiation through space. The notion of ‘ocean’ was once as vague. Aristotle perceived of the world as a small place, bounded by a narrow river. Columbus believed the Atlantic was a much shorter distance across than we now know it to be. Even as early electromagnetic telegraphic and wireless transmissions propagating over, under, and through oceans collapsed distances between ships and shores, they revealed vast new oceans – oceans of static, oceans of noise. Etheric Ocean is an underwater web art audio writing noise site. It is an imprecise survey of sounds both animal and mechanical, and of signs both real and imaginary, of distortions born of the difficulty of communicating through the medium of deep dense dark ocean. Like stations dotting a radio dial, murky diagrams, shifting definitions, appropriated texts, nautical associations, and wonky word plays are strung along a very long, horizontally scrolling browser window. This is a world of inversions. Sounds are deep harbours, or are they depths?
J. R. Carpenter - 20.05.2014 - 12:06
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Writing
Writing (2012) was inspired by and built with Joe Davis’s Telescopic Text, pairing the possibilities of expanding, effacing essay with the musings of a Monson or a Mezzanine. An introspective, interactive non-fiction, the work unfurls, an exploration of the processes of composition as much as a finished literary product. As the piece grew to dozens of junctions and thousand of words, the editing interface slowed dramatically, each erasure oredit taking a minute or more. This in turn forced an accountability to first thought – it became easier to publically ‘rewrite’ mistakes, misspeaks and infelicitous phrases than to invisibly edit them away. The result is a thinking aloud on the (web)page, a map to the writer’s trains of thought for the reader to unfold and explore. Writing featured in the 2013 electronic poetry edition of Australian literary journal Overland.
(Source: ELO Conference 2014)
Scott Rettberg - 19.06.2014 - 03:01
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The Mission [Statement]
A group written mission statement netprov.
Scott Rettberg - 19.06.2014 - 03:26
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My Life in Three Parts
"My Life in Three Parts" addresses the question of how personal identity is influenced by the language of the web. Our online interactions are often circumscribed by tracking software and various social networks. As a result, our identities--how we view ourselves and how others view us--are shaped and expressed, in part, by personal browsing practices and the vocabulary associated with those practices. So what do our autobiographies look like in this new world? To answer this question, "My Life in Three Parts" ignores the conventions of traditional autobiography in favor of oblique readings of iconic visual symbols, terminology, and concepts found online within the private and social web-spaces of shopping, art, and mathematics. This work uses text, images, audio, and videos to create a synthesized narrative of the self. Nothing about personal identity is clear in this work: the life behind the story is only implied.
Jill Walker Rettberg - 19.06.2014 - 20:27
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Anchorage
Anchorage is a game about lost relationships, played on the metaphorical river of your own recollection.
When you play, you log in with your actual email address. Anchorage uses your email history to fill your experience with the people you used to be close to in real life.The game is in development as of June 2014.
(Source: the work's website, June 2014)
Jill Walker Rettberg - 19.06.2014 - 20:31
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Cardamom of the Dead
Written in Unity for use with Oculus RIFT glasses, Cardamom of the Dead is a literary VR environment - the user wanders through a virtual environment filled with a vast collection of things a narrator, heard in voice-over, has hoarded over years (decades? centuries?). The environment is filled with debris and stories and the piece is ultimately a meditation on collecting as madness, consoling practice and memory palace.
(Source: ELO 2014 Media Arts Show)
Scott Rettberg - 24.06.2014 - 19:14
