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1. five by five

   This series of spatially combinatorial poems are built by arranging words on a five by five three-dimensional grid, using the same engine as in “I, You, We.” Readers can manipulate the object in several ways, zooming in and out and rotating the cube to allow certain phrases to come to the foreground and be read. There is always a word around which the rest of the cube rotates, giving it special meaning within the potential phrases the cube can produce.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Rita Raley - 05.05.2011 - 15:12

2. New Word Order

   New Word Order

   Rita Raley - 05.05.2011 - 15:19

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. I, You, We

   The viewer is inside a kind of cube, an infinite cube that can be rotated endlessly without returning to the same view. Between I and you and we flows a river of verbs. The piece can be manipulated by clicking or dragging, or will move on its own if left still for a few moments.

   (Source: Author description, ELC vol. 1.)

   Eric Dean Rasmussen - 12.05.2011 - 09:26

5. Inside: A Journal of Dreams

   An elderly man keeps a surreal record of his dreams as he is slowly poisoned by his gas fire leaking carbon monoxide.

   Andy Campbell - 19.05.2011 - 21:32

6. The LA Flood Project

   The LA Flood Project is a [work in progress] locative media experience made up of three segments:

   1. Oral histories of crises in Los Angeles
   2. A locative narrative about a fictional flood
   3. A flood simulation

   (Source: Project site)

   Scott Rettberg - 20.05.2011 - 12:28

7. The Virtual Disappearance of Miriam

   A work of interactive fiction following one man's darkly comical search for his missing wife.

   Andy Campbell - 21.05.2011 - 16:38

8. What We Will

   (wot we will hv of wot we r smthing past)

   'What we Will' utilises the potential of QuickTime interactive movie formats, particularly its photographic panoramas. This is combined with live-recorded and composed soundscapes which are embedded in the navigable movies. Structuring the piece, there are further layers of dramatic, textual and literal art elements. There is also a more familiar exploration of dramatic potential through human characters, fragmentary personal histories, memories and secrets, all helping to construct a non-linear narrative and emotional structure. As we experience the 24-hour cycle of their day, we are uncertain as to whether any particular moment follows or, rather, proceeds what we have seen before.

   Scott Rettberg - 24.05.2011 - 21:34

9. Intermission

   Intermission is a performative redadaction of the poetics of cinema. The performance and media platform utilizes René Clair’s short film Entr’acte (1924, a collaboration with Picabia and Erik Satie) as a starting point, reimagining cinema as if the Dadaist vision for the medium had become the prevalent form.

   Talan Memmott - 17.06.2011 - 12:41

10. 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

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