Search

The search found 2227 results in 1.899 seconds.

Search results

1. Text Rain

   "Text Rain is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants’ heads and arms. The letters respond to the participants’ motions and can be caught, lifted, and then let fall again. The falling text will ‘land’ on anything darker than a certain threshold, and ‘fall’ whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and language. ‘Reading’ the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor."

   Eric Dean Rasmussen - 31.01.2011 - 14:27

2. Figurski at Findhorn on Acid

   Richard Holeton's Figurski at Findhorn on Acid is a hypertext novel released for Storyspace by Eastgate publishers in 2001. The story follows the main character Frank Figurski’s quest to acquire a legendary mechanical pig. As Alice Bell points out, this was one of the last major hypertext works created using Storyspace, as authors began to move to web-based tools and CD-ROM based platform became outmoded (150).

   Background:

   Holeton's hypertext work originated as an award-winning short story “Streleski on Findhorn on Acid" published in 1996 (Grigar et al). That same year, he took part in Robert Kendell's online writing class "Hypertext Poetry and Fiction" at the The New School for Social Research, where he reworked the print story into an electronic text. He produced a novel-length draft for his masters thesis at San Francisco State University; it was the first electronic thesis approved by SFU (Grigar et al). The "canonical" version of Figurski at Findhorn on Acid was released on CD-ROM by Eastgate publishers in 2001.

   Eric Dean Rasmussen - 02.02.2011 - 14:30

3. Retournement

   Retournement est une animation syntaxique de 1991. Ce n’est pas tant le mouvement des mots sur l’écran qui compte dans l’animation syntaxique, mais la modification syntaxique que ce mouvement entraîne. Ainsi, suivre les mots des yeux pour lire ou effectuer une lecture spatiale de l’écran « produit » des textes différents. La lecture pouvant à chaque instant basculer entre ces deux modes, le nombre de textes contenus dans ces quelques mots est indéterminé et il est impossible pour le lecteur de les construire tous à la lecture de l’animation. Il s’agit d’un type de générateur non algorithmique que seul un traitement spatio-temporel du langage permet et dont le lecteur est lui-même le moteur d’inférence. À certains moments de l’animation, le sens peut ainsi être perçu comme optimiste ou pessimiste selon la modalité de lecture ; un verbe peut même devenir son propre sujet, rendant la phrase performative. Tout cela dans un geste visuel temporel qui tient de la caresse souligné d’une improvisation au violon.

   Scott Rettberg - 02.02.2011 - 14:30

4. Le mange-texte

   Le Mange-Texte is a work by Jean-Marie Dutey that perfectly represents the esthetic of frustration. There are two versions of Le Mange-Texte: the original 1989 version (that was programmed and published in alire 0.1 and alire 1) and the 1994 version. When one starts to look at the black screen, squares appear, changing into the form of four letter words. The words gradually develop and the reader tries to decipher the letters in order to make sense of the unclear words (that can be read vertically, revealing the verses of the poem). The moment one tries to read the words in their proper context, the machine “eats” the text which transforms into different shapes. The color changes from blue to pink and instead of squares, one sees flowers, and the words change. Some words repeat, but the word “rose” (which can also be translated from original French into English as “pink”) appears, for example. Once again, the machine “eats” the words and the process repeats. It is difficult to read the text because the reader must try to distinguish the letters.

   Scott Rettberg - 02.02.2011 - 14:53

5. I mellom tiden

   I mellom tiden er et hypertekstuelt nettkunstverk bestående at statiske og dynamiske elementer, lyd, skrift, bilde, video og grafikk. Verket er sentrert rundt fire temaer; venner, alene, familie og elskere. Ved å traversere verket får leseren mulighet til å oppleve ulike hverdagslige aspekter i livet, på tvers av de fire temaene. Gjennom sampling og et samspill mellom temaer, stemninger, modaliteter, sjangrer og ulik grad av brukerstyring framstiller I mellom tiden en mangefasettert og kompleks estetikk, der ulike livsverdener interagerer med hverandre, der det virkelige møter det kunstige, det private møter det offentlige, og der det åpne møter det dunkle. [verkbeskrivelse av Hans-Kristian Rustad / ELINOR]

   Scott Rettberg - 02.02.2011 - 16:10

6. The ABCDESTRUCTIONOPQRXYZÅÄÖ

   Heldén's usual sophisticated visual language has here been cast aside in preference for a strictly simple HTML construction where texts, photographs and the urging to keep moving forwards drive the reading of this short work (next, next...). The work shows how digital techniques can allow for relatively simple arrangements of text and images that still belong in a digital environment.

   (Source: Maria Engberg, for ELINOR)

   Jill Walker Rettberg - 02.02.2011 - 21:16

7. Enter the Plains

   Heldén utforskar kartans möjligheter för litterär navigering med ett verk som kopplar texter till platser på den flygbildsliknande kartbild läsaren måste navigera. Genom att klicka på ’hotspots’ i bilden frammanas en text till vänster. Geografi och en känsla av platsen genomsyrar texterna som bygger upp en klaustrofobisk text där de öppna vidderna blir ett hot. De neutrala kartkoordinater och tidsangivelser som man normalt navigerar efter ställs jämte högst personliga berättelser, kanske handlar det om soldatens upplevelser av krig. Berättelserna är fragmentariska och låter oss bara ana vad som händer, vem som berättar.

   [Maria Engberg, ELINOR.]

   Jill Walker Rettberg - 02.02.2011 - 21:23

8. Surrender Control

   The reader of this piece received SMSes over the course of 72 hours with instructions to do many strange things, thereby spreading the narrative into her or his physical surroundings. Invitations to sign up were both advertised on the web and distributed on unsigned fliers in London, thus combining physical and networked spaces. Here are some examples of messages sent, with the date and time they were sent out: 28. Write the word SORRY on your hand and leave it there until it fades. (21/11/01, 00:01) 29. Look at the stars. (21/11/01, 00:59) 30. Think about an ex-lover, naked and tied to a bed. (21/11/01, 10:00) 31. Call someone. Tell a lie. (21/11/01, 13:15) 32. Call them back. Admit that you lied but do not tell the truth about why. (21/11/01, 13:30) Surrender Control is not a narrative in the formal sense, but it may enact a narrative with the recipient of the text messages.

   Jill Walker Rettberg - 02.02.2011 - 22:00

9. SKIN: A Mortal Work of Art

   A short story where each word was tattooed on the skin of a volunteer. These volunteers were the only people who saw the full text of the story. The website documents the work using photographs of tattooed words, a map showing where the words "live", and describing the concept: 'From this time on, participants will be known as "words". They are not understood as carriers or agents of the words they bear, but as their embodiments. As a result, injuries to the printed text, such as dermabrasion, laser surgery, tattoo cover work or the loss of body parts, will not be considered to alter the work. Only the death of words effaces them from the text. As words die the story will change; when the last word dies the story will also have died. The author will make every effort to attend the funerals of her words.'

   (Source for quoted text: Author's Project Announcement)

   Jill Walker Rettberg - 02.02.2011 - 22:07

10. She's a Flight Risk...

    A presumably fictional blog about a wealthy heiress who flees her family for not entirely clear reasons, possibly to do with a forced marriage. The blog begins, "On March 2, 2003 at 4:12 pm, I disappeared. My name is isabella v., but it's not. I'm twentysomething and I am an international fugitive."

    Jill Walker Rettberg - 02.02.2011 - 22:21

Pages