Search

The search found 112 results in 0.009 seconds.

Search results

1. Deviant: The Possession of Christian Shaw

   Deviant: The Possession of Christian Shaw is an animated interactive graphic based on the historical story of Christian Shaw and her demonic possession. Set in 1696 amongst the witch trials, this project explores new ways of experiencing a story — harnessing the allure of mystery and uneasy tensions and plucking the participant's sense of social responsibility. (Source: Author description, Electronic Literature Collection, Vol. One.)

   It’s a visual game and almost non-textual. You play by clicking on the active areas. It’s not always easy to see the areas so you need to click around and just try for a while. There are sounds when you click on different areas. The game takes place in something looking like a small town, and smaller images pops up when you click on items.

   Eric Dean Rasmussen - 27.04.2011 - 12:28

2. Regime Change

   Textual instruments make text playable in a new way. At first, as one encounters their workings, they are toys for exploring language — more flexible than link-node hypertext, more responsive than batch-mode natural language generators. With growing experience, these instruments can also become tools for textual performance. Regime Change begins with a news article from April 2003, following the bombardment that began the U.S. invasion of Iraq. George W. Bush cites "eyewitness" intelligence that Saddam Hussein was assassinated by targeted U.S. bombing and clings to the contention that the Iraqi president was hiding "weapons of mass destruction." Playing Regime Change brings forth texts generated from a document that records a different U.S. attitude toward presidential assassination and eyewitness intelligence — the report of the Warren Commission. This instrument operates using the statistics of n-grams, a technique used for textual games for more than 50 years, beginning in Claude Shannon's 1948 A Mathematical Theory of Communication.

   Eric Dean Rasmussen - 28.04.2011 - 08:44

3. The Set of U / La Série des U

   The Set of U is a typical example of adaptive generation. It is an association of a combinatory generator of sound and a syntactical animation of text that changes its tempo according to the speed of the machine. So, it is not possible to synchronize the sound and the visual. But the reader often has the impression that the sound is designed for the visual process. This result is obtained by a programmed communication between the visual and the sound that uses programmed meta-rules in order to preserve the perceptive coherence. These meta-rules also create a new kind of non-algorithmic combinatory generator by focusing the attention at different moments of the reading. In this situation, the sense created by reading can vary slightly from one reading to another. The reader himself makes this combinatory by rereading. So, this work is interactive, not by managing input devices but through meta-rules. Meta-rules are not "technical rules," but the expression of a complex esthetical intention that lies in programming and can only be perceived by looking at the program.

   Eric Dean Rasmussen - 28.04.2011 - 15:25

4. open.ended

   Author description: open.ended is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.

   (Source: Author description, ELC vol. 1).

   Eric Dean Rasmussen - 29.04.2011 - 10:01

5. Word Museum

   Word Museum

   Rita Raley - 05.05.2011 - 15:02

6. Girls' Day Out

   This is a work in Flash format. It contains three separate but related sections: the title prose poem, "Girls' Day Out"; the author's note on the poem; and "Shards," a poem composed from phrases found in articles in the Houston Chronicle that covered the events that inspired the poem.
   (Source: Author description, ELC 1).

   from the ELD http://directory.eliterature.org/node/3943
   After opening the piece, there are three different links you can click on to read all parts of Kerry's work. The top link, located on the right side of the page is labeled as "poem." The next link is in the middle of the page on the left side and is labeled "author's note." The final link is centered on the bottom of the page and is labeled as "Shards."

   Eric Dean Rasmussen - 10.05.2011 - 13:09

7. The Incomplete

   The Incomplete takes the form of an interactive 'virtual laptop' running Windows XP. The restoration of a folder from the Recycle Bin leads to a series of half-corrupted images, surreal floating files and icons, and a number of openly editable text documents that are free to be changed, modified or completely deleted by anyone visiting the project.

   Andy Campbell - 13.05.2011 - 17:27

8. The Diary of Anne Sykes

   A diary of chaotic thoughts, ramblings and doodles from an imaginary author trapped in a cyclic relationship, featuring bizarre, mouse-responsive and interactive/animated texts. 

   Andy Campbell - 19.05.2011 - 21:36

9. Floppy

   An old 3.5" floppy disk found on a deserted road turns out to contain a disturbing narrative.

   Andy Campbell - 21.05.2011 - 16:47

10. Wasser

    In his “geopoetical” story Wasser [Water] (2004), Stefan Schemat integrates real places and landscapes into his narrative spaces. 13 Recipients, equipped with “augmented reality outfits,” a backpack with a notebook, a GPS device and headphones are sent through a town or a landscape on a one-hour walk; i.e., the recipient has to fulfill a mission under constraints of time. The concrete narrative sequence—i.e., the sequence in which the computer system connects the narrative fragments depending on the location—and the duration and speed of the narrative depend on the choice of the route the recipients take.

    (Source: Jörgen Schäfer, Reassembling the Literary, in Beyond the Screen)

     

    Scott Rettberg - 23.05.2011 - 11:41

Pages