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1. 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

2. Una Selva Oscura

    Inspired by one of Tom Phillips' illustration for his Dante's Inferno (Talfourd Press, 1983), "Una selva oscura" is a digital visual poetry framework providing readers with different poems and the possibility to write their own. 
    

   Artist Statement:

   My work has been driven by three main themes: interpretation through adaptation, little acts of unacknowledged violence, and the expression of a sexual self. What is at stake in those themes is three aspects of the act of representation. By adapting somebody else's work, I present it anew, in a different context that has to do with the original work but also with my reaction to it, my interpretation of it. By representing little acts of violence in an absurd, cynical or sarcastic way, I provide a depiction of them that acknowledges what would otherwise be left unspoken. By expressing a sexual self that is feminine and feminist, outspoken and in charge of her sexuality, I provide the representation of a reality that is too often left in the dark because of taboos, repression and censorship. 

   Scott Rettberg - 13.01.2013 - 18:08

3. COG (I)

    COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.

   (Source: 2002 State of the Arts gallery)

   Scott Rettberg - 15.01.2013 - 19:19

4. hyPoem

   A dynamic interactive environment for typographic hyperpoetry. Four poems and an open system to create your own.

   Scott Rettberg - 17.01.2013 - 12:42