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1. Tao

   Tao

   Eric Dean Rasmussen - 21.04.2011 - 12:25

2. 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

3. wotclock

   wotclock is a QuickTime "speaking clock." This clock was originally developed for the TechnoPoetry Festival curated by Stephanie Strickland at the Georgia Institute of Technology in April 2002. It is based on material from What We Will, a broadband interactive drama produced by Giles Perring, Douglas Cape, myself, and others from 2001 on. The underlying concepts and algorithms are derived from a series of "speaking clocks" that I made in HyperCard from 1995 on. It should be stressed that the clock showcases Douglas Cape's superb panoramic photography for What We Will.

   (Source: Author description).

   Eric Dean Rasmussen - 26.04.2011 - 09:01

4. E-Formes 2: Au risque du jeu

   Présentation de l'éditeur :

   Cet ouvrage est l'occasion d'une réflexion croisée de chercheurs et d'artistes de provenances très diversifiées, sur un domaine dont les productions brouillent les frontières entre les arts et les usages et échappent aux paradigmes conventionnels de l'analyse et de la critique.

   En effet, pétries de nombres et modelées par les programmes informatiques, les " e-formes " s'actualisent néanmoins par des mots, des images et des sons. Ainsi, le plus souvent à la frontière entre les objets artistiques mis en ligne sur le Web et les objets de communication conçus pour lui, elles se réapproprient les formes traditionnelles, les incorporent dans leur propre médium et composent entre programmations et pratiques interactives.

   Que l'on s'inquiète de leur fondement ludique, de leur légèreté inconséquente, de leurs faux-semblants, ou que l'on se réjouisse de leur sens parodique ou de leur génie poétique, il importe d'admettre que ces e-formes participent d'un paysage culturel encore flou que les textes ici réunis ont le mérite d'explorer et de commencer à clarifier.

   Sommaire:

   Scott Rettberg - 26.04.2011 - 15:25

5. open.ended

   Author description: open.ended is an interactive three-dimensional poem experienced through the interplay of shifting geometric surfaces. Verses appear on the faces of separate translucent cubes nested within one another. The reader manipulates a mouse, joystick, or touch-screen to bring stanzas on different surfaces into view. As cubes, faces, and layers are revealed, dynamically updating lines of text move in and out of focus. The structure of the poem facilitates a multiplicity of readings: from single verses on cube faces, to sequential verses across faces, to juxtapositions of verses across multiple cubes. Meaning is constructed actively through collaboration between reader, author, and mediated work. An audio track of the authors' layered voices extends the experience, enveloping the reader in the atmosphere of the poem, organically complementing the visual and tactile components of the work.

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

   Eric Dean Rasmussen - 29.04.2011 - 10:01

6. Interstitial

   David Jhave Johnston’s video-based "Interstitial" is a meditation on terminal anxiety. The title of the piece, which refers generally to that which occupies an “empty interval,” takes on a specific connotation when one considers its popular use in web development contexts for the commercial “pre-loaders” that hawk their wares while one waits for the site to open. The video, which is minimally edited, features three views arranged in triptych form: a cat decomposing in a river, tidal pools, and a bug undergoing metamorphosis. These events, as witnessed by Johnston, are unaltered and unmodified, simply captured where they occurred using handheld equipment. According to an artist’s statement published on Tributaries and Text-fed Streams (http://tributaries.thecapilanoreview.ca/2008/02/22/interstitial/), the web presentation of the files was formatted through the process of naming the discrete video, audio, and poetic text files and allowing software to assemble these pieces into an endless loop.

   Patricia Tomaszek - 06.05.2011 - 14:19

7. La Resocialista Internacional

   Multilingual textworks with translations in Dutch, German, Spanish, Portuguese, Greek and Serbian. Translators: Babelfish( German and French), Portugese: Ana Valdez, Spanish: Isabelle Brison, Serbian: MANIK, Greek: Arelis Eletherios. Based on an original text in Dutch by Judith V. Symbolic English notation: A. Andreas. 2008-2011

   Andreas Maria Jacobs - 06.05.2011 - 15:07

8. 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

9. 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

10. Landscapes

    Landscapes presents five animated canvases which together comprise a dreamscape of anarchic play, urban order, and media saturation. Each landscape pairs a short Biblical proverb with a series of images taken from street protests, multimedia conferences, Hollywood films, and other private and public sites. The proverb in each of the landscapes scrolls on a loop across the screen and is "locked" in position behind a viewing portal. To read the proverb is to make do with the fractured characters visible through small holes in the portal.
    (Source: Author description, ELC vol. 1).

    Eric Dean Rasmussen - 11.05.2011 - 09:16

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