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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
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soundpoems
These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 08.03.2011 - 15:22
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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
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This is how you will die
A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 13:23
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Oulipoems
Oulipoems is a series of six interactive poetry Flash works, ranging from electronic poems, to games, to a tool for generating and writing poetry using the vocabulary of a variety of poets. The pieces are loosely based on the Oulipo movement in French literature, which focused on texts based on constraints (for instance, Perec's famous novel A Void, a lipogram in which the letter e does not appear) and also on mixtures of literature and mathematics.
Eric Dean Rasmussen - 08.11.2011 - 16:25
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Blind Side of a Secret
“Blind Side of a Secret” consists of three audiovisual variations, created individually by Mühlenbruch, Sodeoka, and Nakamura, on words written by Thom Swiss. The work could be considered remix culture in action, overlaying and cutting up an underlying tale—which is never given entirely as a whole, though many sections are held in common—about the unspoken parts of relationships, of coming and going. In all three pieces, alternating third-person voice-over narration by a man and a woman forms the bulk of the audio portion, and it includes parts in English, French, and Dutch.
Scott Rettberg - 18.10.2012 - 12:37
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The Winter House
This multimedia narrative shortlisted for the 2010 New Media Writing Prize combines a variety of genres and forms to tell an engaging story. This murder mystery brings the protagonist back to a mansion and boarding school to investigate her father’s untimely demise. The narrative and graphic design of this linear hypertext borrows heavily from the detective board game Clue (aka Cluedo), yet its treatment of the material using videogame interfaces, e-poetic deployment of its language, and smartly integrated multimedia keeps it from seeming cliché. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.02.2013 - 13:42
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Lollipop Noose
This video poem created in Flash is a meditation on the word game Hangman. The Western banjo rock music— a clip from Modest Mouse’s “3 Inch Horses, Two Faced Monsters“— evokes the American “wild west,” reminding us of its improvised deadly justice system that often resulted in hanging. This cultural backdrop enhances the poem’s ruminations on what would otherwise seem like an innocent little word game. Its scheduled presentation of language appropriately conforms to the game mechanics, placing blanks and filling in all of one letter at a time until the complete phrase is readable. The animation centered on the letter “O” is a pictorial analysis that cleverly leads to the poem’s title. Its use of color is not only a reminder of the imaginary stakes in the game, but also shapes the reading in some of the poem’s stanzas. As you watch and read this short e-poem and appreciate its deconstruction of the game, consider what it has to say about the real and imagined human body and that of language.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 15:49
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sc4nda1 in new media
At the heart any scandal is a story, or a thing of many stories; sc4nda1 is even more peculiar, but also begins with a telling. What you have before you started as an essay (or intent to rant) about an observation I kept reading in recent criticism, that electronic writing has not been properly dressed for the serious table. Where, the questions ran, are the publishers, the editors, the established and establishing critics? In a time of intense experiment and innovation, who says which textual deviations make real difference, and which are just bizarre? More ominously: where are the naive, casual readers, the seekers of pleasurable text who ought to move design's desire? To spin an old friend's epigraph, just who, exactly, finds this funhouse fun? ...And so to the thing itself: probably more exploration than investigation, though who knows what offenses may come to light. You may find it (inevitably) a post-serious entertainment for hand, eye, ear, and brain, other organs optional. If the thingy deserves a generic name, try arcade essay, a cross between philosophical investigation (well okay, rant) and primal video game.
Ian Rolon - 09.04.2014 - 19:20
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TOPO_Trajectoires 20 ans de présence en art et littératures numériques
In 2018, TOPO is celebrating its 25th anniversary, and its 20th anniversary of involvement in creation and dissemination of digital art. The Montreal artist-run centre TOPO is a laboratory for digital writings and creations for web, performance, and installation spaces. Its mandate is to incubate, produce, and circulate original multimedia artworks that explore interdisciplinary and intercultural hybridizations in the digital arts.
It was through exploration of interactive narrative that the founders of TOPO – artists Michel Lefebvre and Eva Quintas – introduced TOPO to new-media circles in January 1998. A memorable ice storm had just ravaged Montréal when the FM network of Radio-Canada broadcasted a web-radio version of the three episodes of the photo-novel Liquidation, a first in Québec. This major pluri-media project, finalized in 2001 in the form of random fiction on CD-ROM, gave a foretaste of the organization’s orientations: collective creation, a multidisciplinary focus, exploration of various supports and narrative forms for new media, and extension of practices on the network into the public space and vice versa.Akvile Sinkeviciute - 26.09.2018 - 15:35
