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Public Secrets
The expansion of the prison system is possible because it is a public secret - a secret kept in an unacknowledged but public agreement not to know what imprisonment really means to individuals and their communities. As the number of prisons increases, so does the level of secrecy about what goes on inside them. The secret of the abuses perpetrated by the Criminal Justice System and Prison Industrial Complex can be heard in many stories told by many narrators, but only when they are allowed to speak. After a series of news stories and lawsuits documenting egregious mistreatment of prisoners in 1993, the California Department of Corrections imposed a media ban on all of its facilities. This ongoing ban prohibits journalists from face-to-face interviews, eliminates prisoners' right to confidential correspondence with media representatives, and bars the use of cameras, recording devices, and writing instruments in interviews with media representatives. Women incarcerated in California are allowed visits only from family members and legal representatives. Inmates are not allowed access to computers, cameras, tape recorders or media equipment of any kind.
Eric Dean Rasmussen - 22.02.2011 - 15:27
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Plaintext Performance
It's a live writing performance over the net combining 1) keyboard writing, 2) machinated, algorithmic writing, and 3) feeds from the processes surrounding the writing (like system monitoring, net connection monitoring, ftp log, etc). All in realtime and plaintext. It was performed live at the BIOS symposium, Center for Literary Computing, West Virginia University, September 2006, with a unix ytalk session as a sideshow. The static version shown here is based on the exhibition "e and eye - art and poetry between the electronic and the visual" at Tate Modern, London, October 2006. It's part of a series of work called "protocol performances". 'Protocol' is meant both as a lower level set of rules of the format of communication, and as statements reporting observations and experiences in the most fundamental terms without interpretation, relating it to phenomenological 'noemata' - thought objects, and thus identifying a data stream with a stream of consciousness. 'Performance' is meant both as a data protocol's physical performance as much as its play on the meaning as an artist-centric execution of work.
Eric Dean Rasmussen - 16.03.2011 - 10:31
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Amor de Clarice
Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.
Scott Rettberg - 15.04.2011 - 12:04
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Family Tree
The digital project Family Tree is conceived as a mobile responding to two forces: wind and gravity. The reader/listener conjures these at will by moving the mouse: left and right to create movement through wind in the horizontal plane, and up and down to apply the force of gravity and create a vertical movement along the family tree. In this way, the reader/listener shapes the reading experience, causing the text to move and rearrange itself on the digital page. Family Tree can be regarded as an exercise of memory, investigating stories told and our ever-changing recollection of them, as well as a path towards some kind of source DNA: stories mix, converse and change, as people from different places and times are faced with each other. This imaginary space is flexible and open to new possibilities.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 15.04.2011 - 14:21
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Game, game, game, and again game
Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist's changing worldview lens. Much of the western world's cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises.
Scott Rettberg - 15.04.2011 - 14:43
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Screen
Screen is an alternative literary game created in the "Cave," a room-sized virtual reality display. It begins with reading and listening. Texts, presenting moments of memory as a virtual experience, appear on the Cave's walls, surrounding the reader. Then words begin to come loose. The reader finds she can knock them back with her hand, and the experience becomes a kind of play - as well-known game mechanics are given new form through bodily interaction with text. At the same time, the language of the text, together with the uncanny experience of touching words, creates an experience that does not settle easily into the usual ways of thinking about gameplay or VR. Words peel faster and faster; struck words don't always return to where they came from; and words with nowhere to go can break apart. Eventually, when too many are off the wall, the rest peel loose, swirl around the reader, and collapse. Playing "better" and faster keeps this at bay, but longer play sessions also work the memory text into greater disorder through misplacements and neologisms. (Source: authors' description.)
Scott Rettberg - 15.04.2011 - 15:56
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Semantic Disturbances
Reinforcing changing attitudes and roles toward art, religion and technology. Experimental research using Google search results. Textual fragments found on the Web are programmatically rearranged, deformed or crushed, deconstructing and re-contextualizing the actual text. By applying this strategic process new, dismantling and reorienting contexts arise, not directly conforming to the mundanity of the original result listings. (Source: author's description.)
Eric Dean Rasmussen - 18.04.2011 - 09:49
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This is how you will die
A recombinatory digital fiction/poem for predicting death. It uses the stripped down the code of an online slot machine game, replacing the cards with 15 five-line death fictions/poeticals. The artwork recombines the scenarios randomly every time you spin. The writing divides the scenarios into location, method, result and post-result of each death possibility. Additionally, you can win death videos/poetry visuals and free spins. Some are rather scared of this creature's forecasting tone, while others exalt in the absurdist joy of the way all stories are interchangeable, interrelated and happily random.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Scott Rettberg - 20.04.2011 - 13:23
