Search
The search found 54 results in 0.01 seconds.
Search results
-
Evidence of Everything Exploding
The third part of Jason Nelson's artgame trilogy.
Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language. A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play. Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space.
Scott Rettberg - 25.03.2012 - 21:26
-
Aleph Null
Aleph Null (2011) marks Jim Andrews’ return to open source work since he shifted to Macromedia (now Adobe) Director in 2000. His earliest works were written in DHTML between 1997-2000, a highly creative period in which he found his “voice” as a poet and programmer of electronic literature with works like “Seattle Drift” and the “Stir Fry Texts.” The limitations of DHTML at the time prompted his move to Director, which allowed him to develop highly musical and visual pieces, such as “Nio,” “Arteroids,” and “Jig Sound.”
Eric Dean Rasmussen - 30.05.2012 - 11:37
-
Ceci n'est pas un Nike
Author's description:
Ceci n'est pas un nike talks about on line creation and its conditions. Its point of departure is the conceptual confusion between interface and surface.
Magritte's pipes are its strongest referencs and it updates the discussion about the differences between image and representation, denying the Web as an adendum of the screen or an epiphenomena of the computer.
The discussion takes place in an image warping program_ the e-nike generator. It stresses the conflict between code and representations allowing transformations in this site icon. You are invited to create and send your own nike to our "no-nike_center" and to destroy some nikes too.
Moreover, I would like to have you adding your layer to the e-palimpsest, intereacting, in real time, with the critical text, using only your browser.
BTW, this is not a nike, but a web site.
So create, destroy and rebuild.
Just do it!(Source: Author's description from the project site)
Scott Rettberg - 17.06.2012 - 13:32
-
Radio Salience
"Radio Salience" is an image-text-sound instrument with certain game-like features. The player (user? listener? reader?) watches an array of four image panels, showing component slices from various larger images. When any two slices match, slot-machine style, a click will initiate a poetastic moment. There is no score, so no way to win, lose, or escape. Radio is all.
--
"I have known that which the Greeks do not know -- uncertainty" (Borges).
Just another entry in the Babylon Lottery, this project explores indeterminacy, accident, and resonance, taking as its muse the breathless voice of the airwaves, or radio. What did those Greeks know, anyway?
Some may ask, are we yet reading? Well, somebody had to, but in most cases they weren't human. No sirens were harmed, and no one is like to drown. Also, this is once again not a game. Though what you will see is certainly playable, there is no real contest, no score, no leveling. Let's play Twister, let's play Risk.
--
Stuart Moulthrop - 20.06.2012 - 19:10
-
The Dead Tower
Explore a dark, mountainous landscape dominated by a gigantic tower.
Set in a dark and abstract dream world that revolves around a crashed bus, the atmospheric literary game environment The Dead Tower can be freely explored at full-screen with the mouse and keyboard. Leonardo Flores says about the project: “This narrative poem is arranged on a darkly atmospheric virtual world designed to both creep you out and pull you in…“. Like the proverbial moth, the reader’s attention is drawn towards the brightest things around: white words float in the air, static or rotating. And the lines of mezangelle verse both heighten the dread by telling fragments of a ghostly narrative prefigured by the bus crash site the reader finds herself in and soften the tone with hints about the interface that nudge the fourth wall. (Source: GalleryDDDL description)
Andy Campbell - 15.07.2012 - 19:03
-
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
-
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
-
Epitaph Gertrude Stein
Rules of the game. An international epitaph is to be created in honour of Gertrude Stein, who died on 27 July 1946. The subject prescribed for this international epitaph is the last (No. LXXXIII) of the Stanzas in meditation ("Why am I if I am..."). We are looking for textual, audio and grafic elaborations of the theme. The texts should, like the prescribed stanza, consist of fourteen lines/verses. The last verse must read: These stanzas are done. It is left to the individual author wether he/she follow the structure of the prescribed stanza by Gertrude Stein (diminishing/increasing length of line, rhymes, etc.) or react to other texts of the Epitaph in free association. The text should at any event be written in the author's mother tongue and if possible accompanied by the rough translation or a free version in German. The audio creations must for technical reasons be noted in letters. Graphic contributions should not exceed to format 30 x 30 cm.
Johannes Auer - 05.11.2012 - 13:45
-
A crissxross trail < R3/\/\1X\/\/0RX: one remix player's scenic route through remixworx
A crissxross trail < R3/\/\1X\/\/0RX is a meta-remix of the artist's personal creative journey through remixworx, a collaborative online remixing project. Conceived as a poetic interactive infographic with lots of multimedia animated content, this 'scenic route' presents a sample trail of 33 out of the 100 remixes that Christine Wilks (aka crissxross) has created since joining remixworx in January 2007. The trail includes a text commentary about her experience of remixing and co-creating over the past six years. A crissxross trail < R3/\/\1X\/\/0RX: one remix player's scenic route through remixworx formed the core of Christine Wilks's presentation for the ELMCIP Conference on Remediating the Social in November 2012.
Christine Wilks - 09.11.2012 - 16:55
-
Nobody knows but you
nobody knows but you was written for Double-Cute Battle Mode, an application prototype for a VJ (video jockey) remix battle. DCBM allows two players to combine visuals and special effects in a playful competition for screen space. Using joysticks, players plug their imagination into their computer and share a creative space in an intuitive video-game style interaction. The piece was conceived as a way to ease text back into an image-dominated culture by treating it simultaneously as a visual special effect and as a poem. The twenty-three verses appear on a plane in three-dimensional space. A cube shape displays additional visuals. Both the cube and the plane may be scaled and rotated, and the reader has control over which verse or image is displayed. You may notice in the image at top left, or while watching the installation video, a twelve-year-old girl plopped down in front of the installation. She played with the piece on and off for three hours. She began singing the words, making up melodies and turning certain verses into refrains. There is a clear lack of literature that responds to the intellectual and creative needs of young people today.
Luciana Gattass - 14.11.2012 - 17:08
