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  1. True North

    This description comes from Rebooting Electronic Literature Volume 2:

    Stephanie Strickland's True North came out in 1997 in two formats. First, it was published as a print book of poetry by the University of Notre Dame Press and won––that same year––the Poetry Society of America's Alice Fay Di Castagnola Award and the Ernest Sandeen Poetry Prize. It also appeared as a hypertext poem released on floppy disk for both PC and Macintosh computers by Eastgate Systems, Inc. As Strickland states in her “Prologue,” work on True North began in 1995 at N. Katherine Hayles's National Endowment for the Humanities Summer Seminar but originally was conceived over a decade earlier when, influenced by the writings of Simone Weil, she developed an interest in finding a woman’s language.

    The editions and versions include:

    Print Edition

    Jill Walker Rettberg - 14.01.2011 - 12:11

  2. Correspondences

    Correspondences is a translation into sound and image of the timbre of Charles Baudelaire's "Correspondances." The work is not a reading, per se, but it follows the structure of Baudelaire's sonnet closely, pivoting around the white space of the dash in the first tercet. In this experimental video + computer music work the gesture of Baudelaire's poetry serves as a scaffolding for an exploration of mutable time and memory. Correspondences is an invocation to the memory of something read, half-remembered perhaps, connected through a dream logic.

    Stig Andreassen - 20.03.2012 - 14:46

  3. Time Train

    "Timetrain" by Dorothee Lang is an ethereal experience created in Flash that uses the visuals of a train station in combination with audio and carefully crafted text to take the reader along for a ride. As images and phrases move across the screen and new juxtapositions are created, the reader is presented with opportunities for self-reflection. As the bottom of the picture moves to the right, forward, while the top of the picture moves to the left, backward suggesting spatial as well as temporal movements as trains "arrive" and "depart." The text floats in the middle as the pictures show a 360 degree view of the station.

    (Source: Electronic Literature Directory entry by Joy Jeffers)

    Scott Rettberg - 16.10.2012 - 15:58

  4. Window

    As a poetic mediation on place and experience, Window encourages you to explore the things at the edges. The ordinary moments—sounds, sights, memories, thoughts—that make an environment familiar, that make it ‘home’. My inspiration came, and continues to come so often, from John Cage—and I made this work in 2012, the centenary of his birth. His music, writing, and thinking—the way he lived his life—are a wondrous integration of art and ordinary experience. Interwoven with fragmentary texts, themselves hidden at the edges, and only available through exploration, are a separate series of short essays. Some are about John Cage and some are personal reflections as I looked, listened and collected the sounds and images that provide the material for this piece. I did this over a period of a year—listening, looking, snapping photos and recording sounds. Arranged in ‘months’, there are various ways to interact with Window. The choice is yours—listening, reading, looking, and travelling from one time of year to another. For each month the images and sounds were actually recorded in the month concerned.

    Scott Rettberg - 01.12.2012 - 12:50

  5. En réponse à la lampe

    « En réponse à la lampe » a été publié dans le journal « alire n°6 » pour la première fois en 1992. En 1996, un portage informatique a été réalisé. Ce poème animé donne une possibilité importante de lectures grâce à l’apparition et la disparition de nombreuses bribes. Le poème bouge sur un écran noir, et le texte est pour la plupart imprimé en blanc. Le poème est composé de quelques éléments plutôt stables dans le temps, qui permettent au lecteur de pouvoir mémoriser un très petit nombre de vers, puis d’autres éléments ou vers apparaissent et disparaissent à leur guise, n’importe où à l’écran, rendant difficile de remédier à un sens quelconque, à cause de l’aspect transitoire du poème. Une esthétique de la frustration surgit de ce poème car, au moment où les vers apparaissent, ils s’estompent aussitôt. Cependant, l’aspect transitoire du texte permet une lecture temporelle, basée sur la mémoire du lecteur.

    Johanna Montlouis-Gabriel - 13.09.2014 - 21:53

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