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1. 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

2. Redshift & Portalmetal

   Redshift & Portalmetal asks: as climate change forces us to travel to the stars and build new homes and families, how do we build on this land, where we are settlers, while working to undo colonization? The story uses space travel as a lens through which to understand the experience of migration and settlement for a trans woman of color. Redshift & Portalmetal tells the story of Roja, who's planet's environment is failing, so she has to travel to other worlds. The project takes the form of an online, interactive game, including film, performance and poetry.

   Jill Walker Rettberg - 22.10.2015 - 18:40

3. Chess Poetry

   ChessBard inputs the algebraic notation for a chess game in .PGN format (digital file format for archived chess games) and the Chessbard outputs a poem. The poems are based on 12 source poems Aaron wrote, 6 poems for the white pieces, 6 poems for the black pieces: there is a 64 word poem for each colour’s pawns, knights, rooks, bishop, queen and king. When a piece lands on a square it triggers a word from the source poems and the translator compiles them together and outputs a poem.

   Magnus Knustad - 08.11.2016 - 15:59

4. The Spectral Dollhouse

   In Jilly Dreadful's hypertext work The Spectral Dollhouse, the death scenes are staged; the blood is (presumably) fake; and the owner of the house is, or was, a doll; and yet it looked like we'd seen ghosts after ouiji-ing our way through this work, which in the author's words, investigates "the literary oppression that women face in regards to the procreation of their stories and bodies" as well as the question of whether (and/or how) photography is representational of reality. In a way, though, we had seen ghosts, as Dreadful admits, "fiction haunts nonfiction," resulting in a piece that balances sure-footedly on the line where truth and artifice abut one another, with Dreadful taking handfuls of each to make one replete with the other.

   Source: https://www.cddc.vt.edu/journals/newriver/13Fall/editor.html

   Chiara Agostinelli - 20.11.2018 - 16:48