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*water writes always in *plural
*water writes always in *plural
Eric Dean Rasmussen - 18.02.2011 - 20:29
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Inanimate Alice, Episode 4: Hometown
Author description: Episode 4 of Inanimate Alice finds Alice going to school at last. She and her parents have ended up in a multicultural city in the middle of England. For the first time ever, Alice has friends her own age, and they do all the things that 14 year olds everywhere do. "And now I am going to die!" Attempting to impress her friends one afternoon, Alice climbs a rickety staircase outside an abandoned factory. When it collapses beneath her, she hangs on by her fingernails, then hauls herself up onto a ledge. But now she is stuck - she can't get down, she can't go up. The only way out is through the scary factory, half-demolished and very dangerous. Can you help Alice? Can you find the way out? Catch up with her in Inanimate Alice, Episode 4: Hometown. Episode 4 is the largest and most complex episode in the series to date. The "teachers only" version of this episode provides a 'skip intro' option and opens up all of the navigation icons from the beginning so that educators can focus on the sections of the narrative appropriate to their needs.
Eric Dean Rasmussen - 21.02.2011 - 10:01
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Toucher
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)Eric Dean Rasmussen - 21.02.2011 - 14:22
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Andromeda
Author description: Andromeda is an augmented reality journey poem about stars, loss and women named Isabel, enabled by a unique software solution and a custom marker library. Augmented reality overlays digital imagery on physical objects and in this piece, the power of robust, multiple, simultaneous recognition with sound activated through proximity has been made easy to work with through the addition of a MAX/MSP interface. It is a unique authoring environment and a wonderful medium for poetic expression. Andromeda is the first fully realized poem written using this software, but is part of a larger suite of poems, tabletop theatre, web-viewable and immersive augmented reality fictions being built by Fisher. Andromeda uses a found pop-up book, overlaid with augmented reality markers.
Eric Dean Rasmussen - 21.02.2011 - 14:55
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Tierra de Extracción
Author description: The first part of the project, Tierra de Extracción 1.0, was begun in 1996 and completed in 2000 for the Multimedia Writing Seminar promoted by the Center for Communication Research at the Universidad Católica Andrés Bello (Caracas). In a quest for a multimedia rhetoric, we then began to develop Tierra de Extracción 2.0, which was completed and published in 2007. With 63 hypermedia chapters, the action takes place in the region of Zulia, in a town called Menegrande, the location of the first big Venezuelan oil well: Zumaque I, which started the commercial era of oil production in the country in 1914. The narration occurs in three distinct periods: the beginning and ending of the 20th century and a period in between. At a certain moment, which very well can be the beginning or the end according to the path taken by the reader, the stories break their natural timeline and are united in the same space.
Eric Dean Rasmussen - 22.02.2011 - 15:12
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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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The Fugue Book
Author description: Written in Catalan, The Fugue Book thematizes the mutability and precarious aspects of personal identity. Using "Facebook Connect," the story draws personal information about the reader and his friends (the main characters) from Facebook itself. The work combines a variety of modes, genres, and platforms: wikis, discussion forums, erotic stories, blogs, and social media. Most texts are actual email messages, which is to say that the real email of the reader is a fundamental component of the text. The multimedia structure is very simple in that it only integrates static images, parts of speech synthesis (adapted to the reader), and text. The languages of programming are ActionScript and PHP.
Eric Dean Rasmussen - 22.02.2011 - 17:30
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The Last Performance
Author description: The Last Performance [dot org] is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community. The visual architecture of The Last Performance [dot org] is based on research into "double buildings," a phrase used here to describe spaces that have housed multiple historical identities, with a specific concern for the Hagia Sophia and its varied functions of church, mosque, and museum. The project uses architectural forms as a contextual framework for collaborative authorship. Source texts submitted to the project become raw material for a constantly evolving textual landscape.
Eric Dean Rasmussen - 24.02.2011 - 08:10
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My Name is Captain, Captain
My Name Is Captain, Captain is a collaborative poem written in a language of word and image. The central metaphor is dead reckoning navigation, and the work as a whole has a peculiar relationship to the golden age of flight.
(Source: 2002 State of the Arts gallery)
Eric Dean Rasmussen - 24.02.2011 - 08:23
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Stir Fry Texts
The Stir Fry Texts are interactive texts that twitch and change as you move the mouse over them. Each stir fry consists of n distinct texts. Each of the n texts is partitioned into t pieces. When you mouseover any of the t parts of a text, that part is replaced with the corresponding part of the next of the n texts. Each stir fry contains a graphic that, when clicked repeatedly, lets you cycle through the n texts. I did the programming of the stir frys and did the texts of the first couple. Later, "Log" was done in collaboration with Brian Lennon and "Blue Hyacinth" with Pauline Masurel. The project also includes two essays. "Stir Frys and Cut Ups" relates these forms, and "Material Combinatorium Supremum" discusses the combinatorial form of the stir frys. The stir fry texts are steeply combinatorial. I did the programming in DHTML. I am indebted to Marko Niemi for his upgrading of the programming in 2004. Now they run OK on both PC and Mac and most contemporary browsers on both platforms. (Source: Author description, ELC v.1)
Patricia Tomaszek - 24.02.2011 - 11:18
