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1. Storyland

   Storyland (version 2) is a randomly created narrative which plays with social stereotypes and elements of popular culture. Each sentence is constructed from a pool of possibilities, allowing each reader a unique story. The reader presses the "new story" button, and a story is created for that moment in time. It is unlikely that any two stories will be identical. Storyland exposes its narrative formula thus mirroring aspects of contemporary cultural production: sampling, appropriation, hybrids, stock content, design templates. It risks discontinuity and the ridiculous while providing opportunities for contemplation beyond the entertainment factor.

   The computer-generated combinatorial story is one of the oldest forms of digital writing. Storyland, with its simple circus frame, plays with this tradition by performing recombination of the sort seen in cut-up and in Oulipian work. The system repeatedly plots amusingly repetitive stories, inviting the reader to consider, to read its scheme for composition.

   (Source: Author description, Electronic Literature Collection, Vol. One).

   Eric Dean Rasmussen - 28.04.2011 - 14:57

2. 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

3. Generative Poetry

   This set of works provides three different and powerful combinations of text, sound, image, and exploded letters, all of which function to cut up and recombine language using code developed for Concatenation. In Concatenation, the machine of the text assembles poems that deal with the ability of language to enact violence; in When You Reach Kyoto, the text and images engage the city and computation; and in Semtexts, combinations work at the level of syllable and letter.(Source: Electronic Literature Collection, Vol. 1).

   Eric Dean Rasmussen - 09.05.2011 - 13:47

4. 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

5. Series 1: the alphabetic

   This work is part of a series of interactive generative poems, inspired by Hansjorg Mayer’s alphabetenquadratbuch poem (alphabetsquarebook). It is an exploration of generative alphabets creating concrete forms with the input from the participants. The work doesn’t exist until the viewer interacts with it. By incorporating this aspect of essential interactivity into the work I emphasize the need for the engagement and participation of the reader/viewer in the production and existence of the work. When the viewer approaches the poems, he/she is faced with an empty screen and it is not until some sound is produced that the viewable space is filled in time with the help of sound and silence. All poems create a square formed by the letters of different alphabets, the three communication systems converge: image, writing and code activated by sound. The shifting from the visual and the linguistic is itself the poem; to create that in-between state of verbal-visual energy.

   Patricia Tomaszek - 12.05.2011 - 19:04

6. ACITEOP. Disfunciones poéticas del lenguaje.

   Roman Jakobson defined the poetic function of language as being governed by principles of selection and order. Under this vision the poet is in charge of selecting and organising words in a particular way in order to achieve a poetic effect.

   ACITEOP is a programme that groups together different experimental tools used for constructing poetic narratives, both textual and visual, through the deconstruction of the poetic function of language using different algorithms.

   The result, which is different with each reading or interaction, is both a deconstructed text and a brand new piece of work generated from that same process of deconstruction.

   This first version is a simple example of the programme that creates a narrative based on text, sound and images, which begins with the deconstruction of the poem "Between What I See and What I Say" by Octavio Paz, who dedicated the poem to the Russian linguist Roman Jakobson after his death.

   Pelayo - 19.05.2011 - 13:34

7. Grafik Dynamo

   Grafik Dynamo is a net art work by Kate Armstrong & Michael Tippett that loads live images from the internet into a live action comic strip. From the time of its launch in 2005 to the end of 2008, the work used a live feed from social networking site LiveJournal. The work is currently using a feed from Flickr. The images are accompanied by narrative fragments that are dynamically loaded into speech and thought bubbles and randomly displayed. Animating the comic strip using dynamic web content opens up the genre in a new way: Together, the images and narrative serve to create a strange, dislocated notion of sense and expectation in the reader, as they are sometimes at odds with each other, sometimes perfectly in sync, and always moving and changing. The work takes an experimental approach to open ended narrative, positing a new hybrid between the flow of data animating the work and the formal perameter that comprises its structure.

   (Source: Project site)

   Eric Dean Rasmussen - 25.05.2011 - 10:46

8. Along the Briny Beach

   Along the briny beach a garden grows. With silver bells and cockleshells, cockles and mussels, alive, alive oh. A coral orchard puts forth raucous pink blossoms. A bouquet of sea anemones tosses in the shallows. A crop of cliffs hedges a sand-sown lawn mown twice daily by long green-thumbed waves rowing in rolling rows. The shifting terrain where land and water meet is always neither land nor water and is always both. The sea garden’s paths are fraught with comings and goings. Sea birds in ones and twos. Scissor-beak, Kingfisher, Parrot and Scissor-tail. Changes in the Zoology. Causes of Extinction. From the ship the sea garden seems to glisten and drip with steam. Along a blue sea whose glitter is blurred by a creeping mist, the Walrus and the Carpenter are walking close at hand. A pleasant walk, a pleasant talk along the briny storied waiting in-between space. Wind blooms in the marram dunes. The tide far out, the ocean shrunken. On the bluff a shingled beach house sprouts, the colour of artichoke. On the horizon lines of tankers hang, like Chinese lanterns. Ocean currents collect crazy lawn ornaments. Shoes and shipwrecks, cabbages and kings.

   J. R. Carpenter - 30.05.2011 - 20:53

9. Pulse

   Poem Pulse is an g.a.c.o.i. (Generative, Autopoietic, Collaborative, Open-ended, Intermedial) electronic literary piece.

   G:

   generative is the poem's last stanza of– system picks out one minipulse out of the list of the saved minipulses
   generative is the visual – the leading geometry and thus also the placement of the lyrics
   generative is the composition of the loops of the main melody

   A:

   the concept of its being autopoietic represents the fact, that the final stanza is a minipoem that was created from the words of the whole poem, thus creating a part of it from itself

   C:

   pulse is collaborative because after having read the whole poem, a reader can create her own minipoem by clicking on the projected words of pulse

   O:

   its open-ended nature allows (through reader's submission of the minipoem and its saving) to extend the list of minipoems, out of which generates the stanza of the next pulses

   Zuzana Husarova - 01.09.2011 - 18:00

10. Fictions d’Issy

    Fictions d’Issy is a generative novel, its narrative being gradually composed as it is presented to the readers. It was first shown at the 2005 edition of the 1ER CONTACT FESTIVAL.

    It retraces the story of two characters – he and she – and their relationship, oscillating between breaking-up and being involved. The story - continuously generated, sentence after sentence - is published in Issy-les-Moulineaux’ eleven urban e-newspapers, alternating with municipal information. The story takes place in the town of Issy; the names of public establishments, streets and squares are memorised by the text-generating device and appear regularly throughout the narrative. The local population is thus able to follow the characters’ adventures as they take place in familiar places.

    Eric Dean Rasmussen - 13.09.2011 - 10:09

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