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SWALLOWS 2.0
An updated version of his original 1985 work, recreated for the web by the author after Matthew Kirschenbaum rescued the source files from floppy disc.
Jill Walker Rettberg - 19.04.2012 - 03:00
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Into the Green Green Mud
A story of love, and after-love. Eternity is a fickle thing, and the moments just keep coming. Clouds shift, the sun moves past, and squirrels are collecting nuts, so where does that leave us?
Into the Green Green Mud is an ode to change & impermanence, both in content and medium. Starting from a simple text “script” we are creating a number of inter-related “performances” in various media. This version includes text, images, code, and animation, with a soundtrack that you can download and listen to. Future versions might include a printed book, a live multimedia performance, sky writing, or anything else we decide to explore.
Miriam Suzanne - 20.06.2012 - 21:32
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Abandoning Canon: Fluid Texts and Implicit Collaboration in Electronic Narratives
Digital technology enables artists - photographers, musicians, writers, filmmakers, illustrators,
animators, etc. - to place their work not in a strictly definable where, but effectively everywhere
(everywhere, that is, where infrastructure and access are available). Where once the lines between
author, text, and reader could be drawn with linear vectors, digital technology and their increasing
availability and accessibility bring author, text, and reader into a potentially endless cycle of narrative, creation, wherein the roles are fluid and the text may never be fixed. Because of this capability, Astrid Ensslin argues that the idea of literary canon must depart from "its traditional self-contained, closed, and rigidly exclusive connotations. Instead, an inclusive, open concept has to be adopted, which works in terms of a continuous process of integration, modification and discharge" (2006, n.p).(Source: Author's abstract, 2012 ELO Conference site)
Eric Dean Rasmussen - 21.06.2012 - 13:53
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Blinding Lights
This multimedia poem is about how saturated we have become with media coverage and how damaging that is. De Barros’ approach in this work is to also saturate us with sound, images, formatting, and color to make us realize the excessive amount of information we are constantly receiving. Each of the four parts of the poem uses multiple layers of color, still and moving images and text, looping and single-playing sounds, and responsive elements. Moving the pointer over the image of a man in the first part of the poem, for example, triggers a sequence of images that show how overloaded he is with visual information, to the extent that he needs to blindfold himself or avert his eyes. The narrative in the second part, and the images and words in the third and fourth parts all portray pain, damage, scarring, even murder, to demonstrate how damaged we have all become. (Source: Leonardo Flores, I ♥ E-Poetry)
Kristine Turøy - 24.08.2012 - 11:03
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Über Literatur und Digitalcode / Digital Code and Literary Text
"This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."
Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html
Johannes Auer - 05.11.2012 - 22:23
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Towards an Art of Rhetoric in Electronic Literary Works: The Figures of Manipulation
On the basis of electronic literary works, we can identify specific rhetorical figures in interactive writing: the figures of manipulation. It is a category on its own, along with figures of diction, construction, meaning and thought. For example, the figure of appearance/disappearance (responding to an action of the reader) is as a key figure among the figures of manipulation.
What is emphasized in such figures is the coupling action/behavior, which could be considered as a basic unit in interactive writing. This coupling can be conceived independently from the medias (text, image, video) it relies on. Thus, it seems relevant to have an a-media approach when defining an art of rhetoric in interactive writing.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 08.01.2013 - 23:32
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Pieces
Pieces is a puzzle story. To read the work, you assemble the pieces of a jigsaw puzzle, each piece yielding a portion of narrative. Under your hands, several lives take shape in earnest if sometimes wobbly and unprepossessing assemblages. The manner in which you put the pieces together affects the course of the characters’ lives, different configurations resulting in different outcomes.
(Source: Author's description at Wordcircuits)
Scott Rettberg - 09.01.2013 - 15:41
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Composition
The Composition installation turns live video of participants in an installation space into imagery completely composed of text. Participants in the installation interact with a live projected version of themselves where a real-time video image of themselves is literally ‘composed’ out of text characters. Composition examines how areas of an image can carry multiple weights—their symbolic value as text characters, and their light or dark value as part of the overall composition.
(Artist's description at project site)
Scott Rettberg - 12.01.2013 - 12:12
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4079
a poem written in a country distant from permanent residence, distance is obvious
Interactive poem 4079 is programmed in Processing using JavaScript. Both text and graphic user interface bring the theme of distance, moving between conditions, it questions connectedness and separation, physical and psychical proximity, remoteness and attachment. Poetics of the piece lies in the perception of individual lines of the poem as well as in interacting
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with the dynamics of the dots and their layers. There is no set sequence of reading, so the beginning and the end may be any of the eleven
Dan Kvilhaug - 14.03.2013 - 12:09
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Space for writing: a sidelong glance at the history of immersive spatial hypertext
The Cave Writing Workshop is an advanced experimental electronic writing workshop founded by Robert Coover, exploring the potential of text, sound, and narrative movement in immersive three-dimensional virtual reality. It brings together teams of undergraduate and graduate fiction writers, poets and playwrights, composers and sound engineers, graphic designers, visual artists, 3D modelers and programmers, to develop, within the environment of Brown’s “Cave” in the Technology Center for Advanced Scientific Computing and Visualization, projects that focus on the word. From 2002 onward writers have explored the possibilities of spatial hypertext in an immersive environment. What this paper proposes is an exploration of the history of the twin currents of hypertext and virtual reality that merged to create this particular form of expression, going back to the early hypertext systems developed at Brown University in the 1960’s by Ted Nelson/van Dam/et al and work in immersive virtual reality at University of Illinois’ CAVE in the early 1990s.
(Source: Author's abstract for ELO_AI)
Audun Andreassen - 14.03.2013 - 14:42
