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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
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Langweekend
Launched November 21, 2005.
Eric Dean Rasmussen - 23.03.2011 - 12:30
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Carving in Possibilities
Carving in Possibilities is a short Flash piece. By moving the mouse, the user carves the face of Michelangelo's David out of speculations about David, the crowd watching David and Goliath, the sculptor, and the crowds viewing the sculpture.
(Source: author's description in ELC 1.)Eric Dean Rasmussen - 18.04.2011 - 13:28
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The Set of U / La Série des U
The Set of U is a typical example of adaptive generation. It is an association of a combinatory generator of sound and a syntactical animation of text that changes its tempo according to the speed of the machine. So, it is not possible to synchronize the sound and the visual. But the reader often has the impression that the sound is designed for the visual process. This result is obtained by a programmed communication between the visual and the sound that uses programmed meta-rules in order to preserve the perceptive coherence. These meta-rules also create a new kind of non-algorithmic combinatory generator by focusing the attention at different moments of the reading. In this situation, the sense created by reading can vary slightly from one reading to another. The reader himself makes this combinatory by rereading. So, this work is interactive, not by managing input devices but through meta-rules. Meta-rules are not "technical rules," but the expression of a complex esthetical intention that lies in programming and can only be perceived by looking at the program.
Eric Dean Rasmussen - 28.04.2011 - 15:25
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Generative Poetry
This set of works provides three different and powerful combinations of text, sound, image, and exploded letters, all of which function to cut up and recombine language using code developed for Concatenation. In Concatenation, the machine of the text assembles poems that deal with the ability of language to enact violence; in When You Reach Kyoto, the text and images engage the city and computation; and in Semtexts, combinations work at the level of syllable and letter.(Source: Electronic Literature Collection, Vol. 1).
Eric Dean Rasmussen - 09.05.2011 - 13:47
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Urbanalities
A mash-up of Dadaist technique and VJ stylings, this Flash movie is the product of an "antagonist remix" by babel vs. escha. Seven scenes provide enigmatic observations on the nature of contemporary life, on seeing and being seen, understanding and miscommunication, destruction and creation. The texts in the piece are generated randomly as the piece runs, so the reader's experience of the piece is never exactly the same twice.
(Description from Electronic Literature Collection, Volume 1.)
Eric Dean Rasmussen - 08.11.2011 - 16:38
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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
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Errand Upon Which We Came
In "Errand," animation is used to establish links and disjunctions between images of moving objects in the natural world (e.g. frogs and butterflies) and the lexical and figural dynamics of the poem. These visual-kinetic images heighten the tensions among the meaning—mobilizing acts of "seeing an image," "watching a movement," and "reading a word." The work also employs cursor-activated elements, such as "touching" and "reading." "Errand" reflects on the nature of language and of reading, and these self-reflexive elements are embedded in considerations of how protocols of reading shape our consciousness.
(Source: Electronic Literature Directory entry by Patricia Tomaszek)
Eric Dean Rasmussen - 26.01.2012 - 12:20
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Animalamina
Created by babel and 391.org, Animalamina, a collaboratively constructed work of multimedia poetry for children, consists of 26 pages of flash-based poetry organized around the letters of the alphabet. The key aim of this project is to introduce a younger audience (5 - 11) to a variety of styles of digital poetry, animation and interaction, through the familiar format of an animal A-Z. As the project’s “background” page notes, this work is situated within a tradition alphabet primers that stretches back over 500 years. This background is noteworthy precisely because of the tradition’s combination of pedagogy and play, instructing new generations in the mechanics of emerging techniques and technologies. Specific innovations introduced in this recent ABC are animation, audio, interactive content, non-linearity and chance.
Scott Rettberg - 16.06.2012 - 12:01
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Ah (a shower song)
Ah articulates a simple paradox of reading animated digital literature, which is that the eye, and by extension the mind, often has no sense of the future of a sentence or line of text and, more importantly, is not given the chance to retread an already witnessed word or phrase. Young-Hae Chang Heavy Industry's Dakota is a perfect illustration of this principle. In Ah, the central object of rumination is Einstein, but just as the physicist pondered the numberless variations between the presence of a "1" and "0," this Flash animation brings us back and forth between clever articulations and the ambiguous expressivity of single letters and syllables.
Marije Koens - 25.07.2012 - 11:47
