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soundpoems
These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Eric Dean Rasmussen - 08.03.2011 - 15:22
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Stud Poetry
Author description: Stud Poetry is a poker game played with words instead of cards. Your goal is to build as strong a poetry hand as you can and, of course, to win as much money as you can. Stud Poetry is a game of courage and faith, and a bit of luck too. To become a great master of Stud Poetry, you need to believe in the power of words, their magic capability to move mountains, minds, and souls. Surely it won't be easy, but when you finally have won all the money with your wonderful five-word poetry hands, you'll know it's worth it.
(Source: Electronic Literature Collection, Vol. 1).
Eric Dean Rasmussen - 22.03.2011 - 09:52
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The Intruder
"In Natalie Bookchin's piece, The Intruder, we are presented with a sequence of ten videogames, most of which are adapted from classics such as Pong and Space Invaders. We interact via moving or clicking the mouse, and by making whateve we make of/with/from the story. Meaning is always constructed, never on a plate. The interaction is less focused on videogame play than it is on advancing the narrative of the story we hear throughout the presentation of the ten games. The story is the Jorge Louis Borges piece The Intruder with a few changes. The female in the story is "the intruder" She is as a possession of the two closely bonded miscreant brothers enmeshed in a hopeless triangle of psycho-sexual possession with homoerotic undertones. Finally one of them kills her to end the tension between the two men. Game over. Story over. Bookchin presents an awareness of being an intruder, herself, in the (previously?) male-dominated world of videogame creation and enjoyment. The videogame paradigms are subverted, mocked, and implicitly criticized for their shallow competitive and violent nature not unrelated to the nature of the violence of the males.
Mark Marino - 28.03.2011 - 15:45
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Labyrinth: the Rulebook without Game
An ergodic Flash text exploring video game culture through the lens of playable manuals.
How does one read this clever piece, which touches on so many genres, such as poetry, fiction, game, theory, game manual, and codework? It claims to be a manual for an absent game, a bottomless pit, and a labyrinth for readers to get lost, wondering if indeed the game has already begun. The reader inhabits a character from the outset, a 35 year old married man, who can take on different roles in games belonging to popular RPG and videogame genres: science fiction, spy thriller, fantasy, and labyrinth exploration. Most of the writing is in the tradition of game manual for these types of games (here’s an old favorite) which at their best help immerse the readers into the world of the game and can be more fun than the game itself. In the case of tabletop RPGs, like Dungeons & Dragons, the game is the rulebooks, and all it requires is players and some dice for the necessary randomizations— making them good recipients of the label “cardboard computers,” as Matthew Kirschenbaum has used for tabletop wargames.
Mark Marino - 28.03.2011 - 16:12
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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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Golpe de Gracia
Golpe de gracia is an interactive multimedia piece that combines text, illustration, audio, modeling, and animation and tells the story of a character who undergoes a "near death" experience; this particular situation also functions as a metaphor for the cultural transitions of the present moment. The text is comprised of three "narrative worlds": Cadáver exquisito, L'nea mortal and Muerte digital (Exquisite Corpse, Mortal Line, and Digital Death, respectively) and four "deepening rooms" (games, reading texts, study, and construction). The work offers several different degrees of interaction that range from taking decisions in order to follow the routes, all the way up to the collective construction of the text, along the way participating in several interactive games. Golpe de gracia also has an educative and communicative purpose, which is to make us aware of, and to contribute to, the development of collective knowledge.
Scott Rettberg - 15.04.2011 - 14:53
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Reconstructing Mayakovsky
Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.
Scott Rettberg - 15.04.2011 - 15:38
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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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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
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New Word Order
New Word Order
Rita Raley - 05.05.2011 - 15:19
