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1. slippingglimpse

   In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.

   Eric Dean Rasmussen - 31.01.2011 - 13:07

2. R3/\/\1X\/\/0RX - selected works

   R3/\/\1X\/\/0RX (remixworx) - selected works:

   an online journal of digital art and writing - 2006 to 2012

   R3/\/\1X\/\/0RX (remixworx) is a space for the remixing of digital media, including visual poetry (vispo), electronic poetry (flashpo), playable media, animation, music, spoken word, texts and more. It began as a blog in November 2006 and has grown to number over 500 individual works of media. The source material is made available and all media is freely given to be remixed. Each new work is remixed, literally or conceptually, from other works on the blog. Then, the new work is linked to the blog post(s) that contain the component parts, thus the blog 'talks to itself' - "I link therefore I am" (Mark Amerika). The project promotes no single 'author', and we keep dogma chained outside the gate. It is not a tame place, though, and artful innuendo is evident.

   Christine Wilks - 19.01.2012 - 16:08