Search
The search found 48 results in 0.012 seconds.
Search results
-
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
-
Tao
Tao
Eric Dean Rasmussen - 21.04.2011 - 12:25
-
Cruising
On one level, Cruising is an excited oral recitation of a teenager's favorite pastime in small town Wisconsin, racing up and down the main drag of Main Street looking to make connections, wanting love. But by merging the linear aspect of the sound recording with an interactive component that demands a degree of control, Cruising reinforces the spatial and temporal themes of the poem by requiring the user to learn how to “drive” the text. A new user must first struggle with gaining control of the speed, the direction, and the scale in order to follow the textual path of the narrative. When the text on the screen and the spoken words are made to coincide, the rush of the image sequence is reduced to a slow ongoing loop of still frames. The viewer moves between reading text and experiencing a filmic flow of images — but cannot exactly have both at the same time. In this way, the work seeks to highlight the materiality of text, film, and interface.
(Souce: Authors' description from Electronic Literature Collection, Volume One)
Scott Rettberg - 22.04.2011 - 13:43
-
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
-
Strings
The author quotes Jim Andrews's description: "Strings is a playful series of Flash pieces about relationships. It also raises questions about the presence/absence of the hand in this medium. Visual artists often criticise the lack of presence of the hand in digital art. In Strings, the hand is and is not present, is transformed, is transforming, is writing, is written, coded. Tis morphed." (Source: Author description, ELC, vol. 1).
Eric Dean Rasmussen - 28.04.2011 - 14:40
-
mar puro
Description from artist´s website: This piece is based on a collection of poems by the Spanish poet Carmen Conde (1907-1996). I created an ocean journey with Conde’s words
as the white crests of waves crashing onto a new shore.Patricia Tomaszek - 05.05.2011 - 14:41
-
i made this, you play this. we are enemies
“i made this. you play this. we are enemies.” is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. The game interface drives the poetic texts, the colliding and intersecting images, sounds, words, movements, a forever changing, reader built poetic wonderland. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention. Each day the internet is humming with a million small interventions. From the humoresque mocking of community content sites like Fark, to the net gate keepers Yahoo and Google, partisan political portals like Huffington Post or the open source/file sharing ‘priates’ of Mininova, the web is an easy tool/weapon for meddling/influencing and sharing/forcing/alluring your opinion on whomever clicks.
Patricia Tomaszek - 12.05.2011 - 19:07
-
Firefly
Firefly: a tale told in 180 degrees of separation is a lyrical yet formal structure comprised of 6 stanzas, each five lines "long" and six lines "deep." Readers make their own way through the text by clicking on each line to reveal a different facet of the story. Click on the right hand icon for the next installment of lines.
The work is a "true" hypertext in that it cannot be read linearly. The structure, subtly changing settings, and reader interaction all provide multi-dimensional spaces for meaning, subtext, and context.
(Source: Description from Poems that Go)
Eric Dean Rasmussen - 07.09.2011 - 10:40
-
ii — in the white darkness: about [the fragility of] memory
Strasser and Coverley's visual poem is a multimedia meditation on the nature of memory. By choosing pulsing dots as if from behind a veil, the reader activates collages of photographs and ambient sounds, representing the process of trying to recover lost memories, which surface and fade in and out of intelligibility.
Scott Rettberg - 06.10.2011 - 10:36
-
Under Language
"Under Language" is the latest in my series of textual instruments, a term I borrowed from John Cayley many years ago to describe things that might look like literature, but also like structures for play, though not necessarily what we would call games.
In fact, this one lies pretty close to game space, having rules, a scoring system (albeit invisible), and even a simple agon in which you compete against the perversity of the puzzle-maker, and constraints of the clock.
The phrase "under-language" was invented by the comics artist, Alan Moore, in an interview he gave in the early 1980s. He used it to describe the essence of comics art, which is neither verbal nor visual, but something that underlies and infuses both modes. The term gets at the essence behind Moore's great genius for irony and verbal-visual puns. It also provides a convenient reminder that everything, these days, tends to mean more than it seems.
Scott Rettberg - 20.10.2011 - 09:41
