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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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V: Vniverse
V: Vniverse is a textual instrument for exploring a sequence of poems that also appear in a double invertible book. Navigation/performance possibilities provide a micro-texture of interplay between patterns and their activation, both within the alphabetic forms and in relation to the diagrammed constellations. Programmed all in its original frame, the piece gives the illusion of words moving directly in and out of the sky. Thus all the time resources of the piece go toward responsiveness and production of language, rather than visual display. Here space is fashioned to amplify the sense of resonance that internal timings create.
(Source: Author's description)
Eric Dean Rasmussen - 18.02.2011 - 20:02
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Toucher
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)Eric Dean Rasmussen - 21.02.2011 - 14:22
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Andromeda
Author description: Andromeda is an augmented reality journey poem about stars, loss and women named Isabel, enabled by a unique software solution and a custom marker library. Augmented reality overlays digital imagery on physical objects and in this piece, the power of robust, multiple, simultaneous recognition with sound activated through proximity has been made easy to work with through the addition of a MAX/MSP interface. It is a unique authoring environment and a wonderful medium for poetic expression. Andromeda is the first fully realized poem written using this software, but is part of a larger suite of poems, tabletop theatre, web-viewable and immersive augmented reality fictions being built by Fisher. Andromeda uses a found pop-up book, overlaid with augmented reality markers.
Eric Dean Rasmussen - 21.02.2011 - 14:55
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Family Tree
The digital project Family Tree is conceived as a mobile responding to two forces: wind and gravity. The reader/listener conjures these at will by moving the mouse: left and right to create movement through wind in the horizontal plane, and up and down to apply the force of gravity and create a vertical movement along the family tree. In this way, the reader/listener shapes the reading experience, causing the text to move and rearrange itself on the digital page. Family Tree can be regarded as an exercise of memory, investigating stories told and our ever-changing recollection of them, as well as a path towards some kind of source DNA: stories mix, converse and change, as people from different places and times are faced with each other. This imaginary space is flexible and open to new possibilities.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 15.04.2011 - 14:21
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Tao
Tao
Eric Dean Rasmussen - 21.04.2011 - 12:25
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Cruising
On one level, Cruising is an excited oral recitation of a teenager's favorite pastime in small town Wisconsin, racing up and down the main drag of Main Street looking to make connections, wanting love. But by merging the linear aspect of the sound recording with an interactive component that demands a degree of control, Cruising reinforces the spatial and temporal themes of the poem by requiring the user to learn how to “drive” the text. A new user must first struggle with gaining control of the speed, the direction, and the scale in order to follow the textual path of the narrative. When the text on the screen and the spoken words are made to coincide, the rush of the image sequence is reduced to a slow ongoing loop of still frames. The viewer moves between reading text and experiencing a filmic flow of images — but cannot exactly have both at the same time. In this way, the work seeks to highlight the materiality of text, film, and interface.
(Souce: Authors' description from Electronic Literature Collection, Volume One)
Scott Rettberg - 22.04.2011 - 13:43
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Dawn
The poem combines aspects of love, death, and nature in one piece. Originally it consisted of three parts: text, photography, and sound. In the Flash version these parts are arranged in a loop completed by a minimalist interface (to pause).
(Source: author description from ELC Vol. 1)Eric Dean Rasmussen - 26.04.2011 - 10:27
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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
