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1. Translation

   Author description: Translation (version 5) investigates iterative procedural "movement" from one language to another. Translation developed from an earlier work, Overboard. Both pieces are examples of literal art in digital media that demonstrate an "ambient" time-based poetics. As it runs the same algorithms as Overboard, passages within translation may be in one of three states — surfacing, floating, or sinking. But they may also be in one of three language states, German, French, or English. If a passage drowns in one language it may surface in another. The main source text for translation is extracted from Walter Benjamin's early essay, "On Language as Such and on the Language of Man." (Trans. Edmund Jephcott and Kingsley Shorter. One-Way Street and Other Writings. 1979. London: Verso, 1997. 107-23.) Other texts from Proust may also, less frequently, surface in the original French, and one or other of the standard German and English translations of In Search of Lost Time. The generative music for translation was developed in collaboration with Giles Perring who did the composition, sound design, performance, and recording of the sung alphabets.

   Eric Dean Rasmussen - 08.02.2011 - 17:12

2. 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

3. 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

4. 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

5. 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