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1. Canyonlands: Edward Abbey in the Great American Desert

   "Canyonlands" is a web-based, interactive project that blends text and video imagery on a vast, scrolling environment. Following in the footsteps of the novelist and essayist, Edward Abbey, users navigate paths through a desert landscape that is being overturned through dam-building, road-building, mining, and industrial tourism. The project combines maps, photos, archival films, original video, and many other elements on a scrolling, virtual landscape suggestive of the Colorado River, its canyon lands, and the deserts of Utah, Arizona and California. Users arrive in a desert American West in the 1950s. The work incorporates nonfiction materials in an artistic environment to offer an interdisciplinary blend of art, writing, and scholarship. Recorded in the deserts of Utah, Arizona and California.

   (Source: Author's description in the Electronic Literature Directory)

   Eric Dean Rasmussen - 18.02.2011 - 21:58

2. This Is Not A Poem

   This work takes the poem "Trees" by Joyce Kilmer and, transcribing it onto a "scratchable" disk, makes it into a toy, a game, and a language engine.

   (Source: Author's description)

   Scott Rettberg - 20.05.2011 - 12:35

3. Intermission

   Intermission is a performative redadaction of the poetics of cinema. The performance and media platform utilizes René Clair’s short film Entr’acte (1924, a collaboration with Picabia and Erik Satie) as a starting point, reimagining cinema as if the Dadaist vision for the medium had become the prevalent form.

   Talan Memmott - 17.06.2011 - 12:41

4. (S)PACING

   (S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.

   Talan Memmott - 22.10.2012 - 00:40