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1. Game, game, game, and again game

   Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist's changing worldview lens. Much of the western world's cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises.

   Scott Rettberg - 15.04.2011 - 14:43

2. mémoire involuntaire no. 1

   This text begins as a short memory, recalled and composed by the author. Periodically and involuntarily the words are replaced in real-time by synonyms and coordinate terms extracted from the Wordnet database. After a certain amount of time has elapsed the text enters a second state where it attempts to "remember" its original form, where the text longs to reconstruct the original memory as it was first remembered and composed. In this state (in which it ceaselessly remains), the text attempts to cycle back through the word replacements and is more likely to "remember" than "forget," although there exists the possibility that the text will drift toward new replacements, new significations. As Walter Benjamin once wrote, "Memory is not an instrument for exploring the past but its theatre." Indeed, this text is an experiment in the involuntary performance of memory - forever departing from the moment of its inscription while forever attempting to return to the script and source of its unfolding.

   (Source: Author's description from the Electronic Literature Collection, Volume Two)

   Scott Rettberg - 15.04.2011 - 15:14

3. New Digital Emblems

   I probably encountered emblems first through the work of Ian Hamilton Finlay. Like much that I admire, emblems are really on the margins of art and literary history. Before the dot.com bust, so much that was written about the web struck me as wrong-headed. People imputed what I can only call 'magic' to web's feature set. Low-cost-per-million multimedia interactivity was going to change the world. I knew that people had said similar things about the emblem, and had offered, in outline, many of the same reasons for it. So the emblem, often literally magical, became a caricature of the web.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 15.04.2011 - 15:18

4. Reconstructing Mayakovsky

   Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.

   Scott Rettberg - 15.04.2011 - 15:38

5. 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

6. Sooth

   Sooth is a set of love poems interactively triggered phrase-by-phrase to fly in flocks over original video. Sounds associated with each phrase are mapped to audio which pans and volume shifts in space as the phrase flies. Easing equations are randomly shuffled to create a sense of behavior to each phrase. Text-code-video-audio all original and released under a Creative Commons 2.5 License. It was created while I was artist-in-residence at La Chambre Blanche web-lab in Quebec city. Bilingual: French-English in same interface.

   (Source: Author's description from the Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 12:46

7. WhereAbouts

   WhereAbouts is an interactive poem about urban life. It juxtaposes planning and order with movement and chaos. The neatly planned and perfectly ordered design of poetry in the form of short verses gives way to the busy ant-like rush of letters in the changing streets designed by the reader, as she drags around the "example" blocks as she pleases. The planned and recognizable city now disappears, and another city emerges, one composed of the bustle of the letters that inhabit it, even as they hurry to leave the screen.

   (Source: Author's description from Electronic Literature Collection, Volume Two)

   Scott Rettberg - 20.04.2011 - 14:45

8. Deviant: The Possession of Christian Shaw

   Deviant: The Possession of Christian Shaw is an animated interactive graphic based on the historical story of Christian Shaw and her demonic possession. Set in 1696 amongst the witch trials, this project explores new ways of experiencing a story — harnessing the allure of mystery and uneasy tensions and plucking the participant's sense of social responsibility. (Source: Author description, Electronic Literature Collection, Vol. One.)

   It’s a visual game and almost non-textual. You play by clicking on the active areas. It’s not always easy to see the areas so you need to click around and just try for a while. There are sounds when you click on different areas. The game takes place in something looking like a small town, and smaller images pops up when you click on items.

   Eric Dean Rasmussen - 27.04.2011 - 12:28

9. Strings

   The author quotes Jim Andrews's description: "Strings is a playful series of Flash pieces about relationships. It also raises questions about the presence/absence of the hand in this medium. Visual artists often criticise the lack of presence of the hand in digital art. In Strings, the hand is and is not present, is transformed, is transforming, is writing, is written, coded. Tis morphed." (Source: Author description, ELC, vol. 1).

   Eric Dean Rasmussen - 28.04.2011 - 14:40

10. 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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