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1. Precession of the Equinoxes

   This work uses similar software to that used in Babel, another 3D multi-user internet piece by the artist. Viewers logged in to the work are confronted with a 3D visualisation of a space formed as a receding array of words. As the viewer moves the mouse around the screen they are able to navigate this 3D environment. If the viewer types a word on their keyboard then when they press the RETURN key that word will appear in their own 3D array (the white words). Continuing to do this will cause the words to cascade through the array. These words are also broadcast to all the other viewers logged on (along with the viewers mouse coordinates, allowing each viewers 3D location to be calculated) such that everybody can read what the viewer has written. All the viewers are thus able to see what all the other viewers, who are simultaneously logged onto the site, are seeing. The multiple 3D views of the word-space are montaged together into a single shared image, where the actions of any one viewer effects what all the other viewers see.

   Simon Biggs - 21.09.2010 - 11:37

2. 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

3. Retournement

   Retournement est une animation syntaxique de 1991. Ce n’est pas tant le mouvement des mots sur l’écran qui compte dans l’animation syntaxique, mais la modification syntaxique que ce mouvement entraîne. Ainsi, suivre les mots des yeux pour lire ou effectuer une lecture spatiale de l’écran « produit » des textes différents. La lecture pouvant à chaque instant basculer entre ces deux modes, le nombre de textes contenus dans ces quelques mots est indéterminé et il est impossible pour le lecteur de les construire tous à la lecture de l’animation. Il s’agit d’un type de générateur non algorithmique que seul un traitement spatio-temporel du langage permet et dont le lecteur est lui-même le moteur d’inférence. À certains moments de l’animation, le sens peut ainsi être perçu comme optimiste ou pessimiste selon la modalité de lecture ; un verbe peut même devenir son propre sujet, rendant la phrase performative. Tout cela dans un geste visuel temporel qui tient de la caresse souligné d’une improvisation au violon.

   Scott Rettberg - 02.02.2011 - 14:30

4. 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

5. The Readers Project

   Programmatic or computational art is often, although not necessarily, related to art in other media: visual, performative, conceptual, and so on. The art systems of The Readers Project relate to writing and to reading, to our encounters with literary language. This project is an essay in language-driven digital art, in writing digital media. The Readers Project visualizes reading, although it does not do this in the sense of miming conventional human reading. Rather, the project explores and visualizes existing and alternative vectors of reading, vectors that are motivated by the properties and methods of language and language art.

   Scott Rettberg - 06.03.2011 - 11:04

6. Still Standing

   Still Standing is an interactive installation that invites participants to stay motionless and contemplate its poetic content, a poem titled “seeking sedation.” Nowadays, designs are created to be decrypted and enjoyed at a glance, requiring no attention span. The piece evolved as a response to the "collapse of the interval"; a phenomenon of fast pace culture that rarely allows us a moment to stop and observe; a habit that weakens the fragile approach towards design with dynamic typography. The installation consists of an amalgam of characters projected on the wall as if they were resting on the floor. When a participant walks in front of the projection, the first reaction of the text is to act as if it was being kicked, pushed by the person's feet. When the participant stops for a short moment, the text is attracted towards his position and moves up, like water soaking his body. The participant can then enjoy a motionless moment and contemplate the textual content that becomes more and more legible. When the user is done and decides to start moving again, the text falls back to the floor and wait for a new interaction.

   Scott Rettberg - 18.04.2011 - 13:45

7. Mirroring Tears: Visages

   An instantiation of the Readers Project performed at E-Poetry 2011, the project includes "mirroring translators" that translate poetry from French to English while exhibiting particular types of reading behaviors.

   Scott Rettberg - 20.05.2011 - 13:53

8. database

   database is an electronic reading device that deals with the inversed functionality of three electronic devices: a printer, a video camera and a database. Consequently, it raises issues about the erasure of text, the act of reading in real time (i.e., listening to a printed text), and physical databases. Through the opposition between presence x absence, recording x erasing, memory x forgetfulness, present x continuous time and reading x listening, we challenge the idea of the database as a non-linear and digital structure, and the printer as an output device as well as an information recorder. Critical for the connection of all these concepts is the idea of present time as a time that is always passing by.

   (Source: 2002 State of the Arts gallery description)

   Scott Rettberg - 30.05.2011 - 13:13

9. Disclaimer

   DISCLAIMER: MPAA: MASS PRODUCED ARTISTIC AXIOMS : GENERATIVE WRITING FOR NASCENT CENSORS.

   Disclaimer is non-linear and reshuffles every 7 seconds to form a new disclaimer. Every text field is independent. Arrays of words and phrases recombine to keep the eternal threat of censorship ever-fresh.

   Scott Rettberg - 11.10.2011 - 13:16

10. Pentameters Toward the Dissolution of Certain Vectorialist Relations

    John Cayley reads John Cayley reads and discusses his poem PENTAMETERS TOWARD THE DISSOLUTION OF CERTAIN VECTORALIST RELATIONS (which examines the effect of Google on language and poetics) with discursive and conversational interrupts from Jhave.

    Recorded on John's Providence, Rhode Island home as part of i2.literalart.net/ on 12 Feb 2012.

    (Source: David (Jhave) Johnston's vimeo account.)

    Eric Dean Rasmussen - 12.03.2012 - 16:39

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