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Ne me touchez pas / Don't touch me
Don’t touch me displays the photograph of a woman lying on a bed, as a voice - that of Annie Abrahams - starts telling a story. “Don’t touch me tells a dream I had when I was a teenager," says Annie Abrahams. This dream can be interpreted as the sometimes painful transition from teenage to adulthood for a young woman exposed to the gaze and the desire of men. The interactor listens, but can experience at the same time an action with the mouse. Being passive, looking and listening without using the mouse is not always easy for the interactor, often prompted to click compulsively. But if the user rolls the cursor of the mouse over the picture, a text immediately appears on the screen, expressing the woman’s refusal (« don’t touch me ») and she changes positions. The vocal tale stops immediately and restarts from the beginning. On the fourth attempt of caress with the mouse, the window closes up.
Serge Bouchardon - 07.10.2011 - 11:56
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[Murmur]
[Murmur], a documentary oral history, records aural stories and memories and geolocates them exactly. Now in its ninth year, this ample, well-curated archive features stories from twelve cities on four continents and loads quickly on mobile device.
(Source: Description from the Electronic Literature Exhibition catalogue)
Meri Alexandra Raita - 03.02.2012 - 16:17
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Deep Walls
Deep Walls is a projected cabinet of cinematic memories. When a person walks into its projection beam, the interactive wall starts recording his shadow, and the shadows of those who follow. When the last person leaves the frame, the shadows replay within one of sixteen small rectangular cupboards, looping indefinitely. Like structuralist films, the collection of repetitive videos becomes an object unto-itself, rather than strictly representational “movie.”
Deep Walls creates a complex temporal relationship between movie loops. Each small shadow-film has the precise duration of its recording: from a few seconds to several hours. The temporal relationship between the sixteen frames becomes complex—in a manner similar to Brian Eno’s tape loop experiments—looping individual recordings of different durations to create a composition that doesn’t repeat for days.
(Source: Artist's description)
Scott Rettberg - 08.10.2012 - 14:06
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Fields of Dreams
This literary game which can be equally used to create prose and verse is a tribute to the Surrealist parlor game known as the “exquisite cadaver” and the paper-based Mad Libs created by Roger Price and Leonard Stern in 1953 (for more details, read Montfort’s introduction to the Literary Games issue of Poems that GO). This program originally created in Perl allows people to create texts and tag words to become “dreamfields.” When someone blindly fills in the dreamfield, it reconstructs the text with the reader’s input. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 16.10.2012 - 15:38
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concrete_machine
Language is corrupt! The subject reignes over the alienated object! Language is the code of power! Therefore "smash the surface" and concrete it in a new way. The concrete_machine™ liberates the language from the dominating code into the pictorial concrete. It was already in the last century that language seemed suspicious to numerous artistic movements. The Cubists and Dadaists collaged text-fragments into pictures. Dada dissolved words into sounds. The Lettrists reduced language which they understood as aesthetically exhausted to the single letter. The concrete poets composed letter-pictures and the utopias of the 70ies tried to convert the ruling code. The concrete_machine™ will go on this road to the very end. Compute the text: give it to the concrete_machine™ and so make a free picure of it.
Johannes Auer - 05.11.2012 - 12:38
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The Famous Sound of Absolute Wreaders
A project by Johannes Auer for the ORF Kunstradio, Vienna. With: Reinhard Doehl, Sylvia Egger, Oliver Gassner, Martina Kieninger, Beat Suter und René Bauer Performer: Christiane Maschajechi, Stuttgart Peter Gorges, Stuttgart
6 net authors generate a text on the others' web projects. 2 narrators/announcers perform the texts in form of a collage, remix, dialogue and (white) noise. 6 net authors form a new netart projects using the texts of the others. The radio version of this net project consists of four parts which add up to a radio play that represents different grades of (human) control: Part 1 is a kind of hand-made collage of the complete written material and, thus, is controlled "by human". For Part 2, the text modules of this collage were re-assembled by the computer (randomly "generated") - human control was abandoned. In Part 3, the announcers comment on this computer-generated collage - bringing human control back in (but at the same time infiltrating the meaning of authorship). In Part 4, finally, the announcers themselves lose control due to t heir being under the influence of alcohol ...Johannes Auer - 05.11.2012 - 13:15
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Oratorio - Encantação pelo Rio
"ORATORIO – Encantação pelo Rio" was conceived in 2002 and made in 2003, as a project rewarded in the IV Sergio Motta Cultural Prize. It's a kind of "suite of poems" about Rio de Janeiro (the subtitle "Incantation by Rio" makes a refference to Khlebnikov's "Incantation by Laugh", wonderfuly translated by Haroldo de Campos). The work's start point was a set of 3 "conventional" poems (perhaps the first that I made without a "visual" intention) inspired by 3 locations in Rio: Rocinha (one of its biggest "favela"), the Corcovado (Christ) and the Sambadrome. Then I made a list of 64 rivers and mountains of the city, combining them in verses, playing with the "coincidence" that in Portuguese: "river" and "I laugh" / "mountain" and "I die" have the same writing form: rio / morro. It was a period when violence was specially alarming in the city.
(Source: Author)
Luciana Gattass - 29.11.2012 - 23:04
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Webessay
What happens with an essay when it abandons the set form of book pages, and steps out into the internet's virtual space? Webessay is an invitation into a digital meta-essay: an enormous text-tapestry of quotations, photos, rt and music produced from the two essayists associations and personal library, and arranged into four metaphorical trips: the scientific expedition, the internal journey, the big city holiday, and space tourism. The travelers move past over fifty different stops in all, and are sketched out with the help of many hundreds of airmail-striped envelopes. The program is organized so that the traveler can follow the predetermined routes' tracks, or take a spontaneous trip with the help of self-selected links. You can search in the depths, surf freely away in a labyrinth of hypertexts, or you can choose to be led by the webessay's composition. You're guaranteed to get lost, and find something you weren't expecting.
Melissa Lucas - 30.11.2012 - 19:12
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3 Proposals for Bottle Imps
This suite of three exquisitely paced narrative poems tell stories labelled as allegories of “Genius,” “Ambition,” and “Envy” yet structured as instructions for the design of bottle imps. <—-(This would be the place where I would normally place a link to a resource, but it is unnecessary for this work because Poundstone has put together a meticulously researched and insightful FAQ page.) In this FAQ page, he makes a case for these automata as fitting metaphors for electronic literature, because they are life-like creatures that are animated by mechanisms to produce a looping behavior on a scheduled performance. Indeed, these poems enact the metaphor very well as looping Flash animations used to deliver a narrative through tactical portioning and formatting of a prose text into lines, stanzas, and other visual organizational structures and carefully scheduled delivery of each portion. The careful attention to line structure elevates the prosaic language to poetry, and its scheduled presentation to e-poetry. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 19:33
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Nine: Puzzling through Several Lives
This poem is mapped onto a nine tile sliding puzzle, the kind that traditionally has a single image that one can scramble or unscramble. The interface for this is the same, but Lewis throws a curve ball in this piece: every time the reader moves a tile— perhaps with the hope of completing the image— the image changes. One set of images is a photograph of Lewis himself, and another is a kind of map, suggesting that if we could complete it, we’d see him or where he’s from. But identity isn’t that simple to put together, particularly in the case of someone with such a diverse ethnic background as Lewis. Keep this idea in mind as you read the text as you attempt to complete the puzzle— will you get closure from this piece by completing the puzzle or is this denied much like easy answers about identity are to Lewis? (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 15:50
