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MyNovel.org
MyNovel.org (2006) takes six classic novels (Moby Dick, Uncle Tom's Cabin, The Scarlet Letter, Lolita, 1984, and On The Road) and compresses them into four sentences apiece; at any point, if visitors wish to, they can write their own four sentence novel by using the tools included on the site.
(Source: Artist's description, 2008 ELO Media Arts show)
eabigelow - 28.06.2012 - 03:25
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The Broadside of a Yarn
The Broadside of a Yarn is a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with naught but a QR reader and a hand-made map of dubious accuracy. This project may perhaps be best understood as an assemblage of interrelated narrative elements mediated across a continuum forms - a collection of stories, a folio of broadsides, or an unbound atlas of impossible maps composed of a combination of historical sources, interspersed with "found" images, quotations from well known sailors’ yarns, and my own drawings and photographs, and fiction. These printed maps are embedded with QR codes link mobile devices to computer-generated narrative dialogues which may then serve as scripts for poli-vocal performances, and/or suggest a series of imprecise pervasive performative walks. This project is, in a Situationist sense, a wilfully absurd endeavour. How can I, a displaced native of rural Nova Scotia (New Scotland), perform the navigation of a narrative route through urban Edinburgh (Old Scotland)?
Elisabeth Nesheim - 24.08.2012 - 12:09
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Rush
Rush er en hyperfortelling bestående av skrift, bilde og animasjon. Skriften beveger seg over skjermen i et rolig tempo. Ved visse intervaller må leseren ta et valg som får konsekvenser for det videre handlingsforløpet. Samtidig er hyperteksten og de ulike veivalgene som leseren må ta, visualisert for leseren gjennom et kart. Hyperfortellingen viser fram det alvorlige og forpliktende ved de valgene leseren må ta. Og som leseren vil forstå, er det aldri noen ”second chance”
Jill Walker Rettberg - 15.10.2012 - 12:04
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The Executor
"The Executor" was written in an unusual way. Each author took turns writing sentences, beginning with the final sentence of the story and working backwards.
In a release from Spineless Books, Montfort and Gillespie state that "without planning the content of the story, [they] alternated writing sentences" (Montfort). Each author contributed sentences without knowing the direction that the narrative would take.
The plot follows Jeremy Salader, who returns to a past he has left behind. At some point in his life he made the decision to escape from his life and move towards a new future. A phone call forces Salader to return to his home. By simply looking through the phonebook, Jeremy realizes that his sister, Selma, is still living in the family home caring for their dying mother. When Jeremy meets with Selma, Jeremy's attachment to his estranged mother becomes clear. Selma feels that Jeremy and his mother need to reconcile because she can no longer deal with a dying parent alone. No decision is made and both siblings are left contemplating the future.
Scott Rettberg - 16.10.2012 - 16:30
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Bare Bones
Fairy tales have been hijacked throughout history for various uses. Emigrating from one distribution method to another, they have been duplicated, mistranslated, and subverted. It could be that Cinderella is the world's most-told tale. There are thousands of versions, each one colored by the details of local culture, the needs of its audience and the desires of its teller. Buried among the world's heap of Cinder tales, is the Russian version, in its multiple incarnations. Bare Bones is a retelling of this story about a girl and her encounter with the fearsome hag, Baba Yaga.
We identify with this tale through our own experiences of loss, humiliation and enslavement. By reshaping its text, imagery and format, I try to build a bridge for the fairy tale audience between traditional media and digital media. Bare Bones is just one piece of The Vas(i)lisa Project which is more visually and texually complex.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 14.01.2013 - 00:24
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hektor
hektor is one of the main characters in the non-aggressive narrative - a mode of Benjaminian storytelling. The NAN proposes the "continuation of a story which is just unfolding." I use digital and traditional media to create encounters between an ambiguous 'I' and potential 'You.' By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this unfolding 'past,' and its openness suggests possibility and multiplicity. In a 1965 interview with Michael Kirby, John Cage said that theatre is not done to its viewers; they do it to themselves.
Scott Rettberg - 15.01.2013 - 21:08
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Bread.Crumbs
"The (scratch) novel CRACKED EGGS AND WASTED TIME is very (very) loosely based in simultaneous (mis)readings of D. H. Lawrence's WOMEN IN LOVE and THE EGYPTIAN BOOK OF THE DEAD, commingled with other additional nonsense..." From the introductory page.
Sissel Hegvik - 23.01.2013 - 20:34
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Feed
Our deeply ingrained need to trust language enables Feed to generate an endless simulacrum of social commentary cum mythopoeic narrative spontaneously from largely random associations of charged words. It presents cultural observation through the blind eye of chance. The blank passing moment becomes the creator of mythos. It allows us the opportunity to turn ambiguity into poetry, absurdity into satire, unexpected fortuitous alignments into insight. Feed chronicles the mechanisms of the chronicle rather than its subjects. It removes “realism” from the equation, flirting with the meaningless and parading arbitrary associations before the reader under the banners of archetype and metaphor. Feed historicizes, editorializes, moralizes, sings, dances, and wears funny hats, all in the name of “analyzing” its own inventions.
(Source: Author's description for ELO_AI Conference)
Scott Rettberg - 11.04.2013 - 11:04
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TILT
TILT is database movie inspired by the pinball game in Robert Coover’s famous short story, The Babysitter. An abstraction of the traditional arcade game, TILT uses the random kinetics of a ball in a bounded area to organize its narrative, which is spatial rather than temporal.
Scott Rettberg - 11.04.2013 - 11:55
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The Big Plot
This is a romantic-spy story rendered into the genre of Recombinant Fiction. Four characters told a fiction using dialogues shown on several media channels. The cloned identity of a real spy was used to portray a story about the political and sentimental weakness of our era characterised by a dysfunctional sociality being created by social media communications. Actions in public environments completed the set of stages upon which the story was acted and audiences had an active role by unfolding and creating other pieces of fiction. The drama deconstructed language and symbolism of ideologies by remixing characters' lives and identities with real-world patterns. The work has been exhibited as an installation and there is also a web version.
Jill Walker Rettberg - 06.06.2013 - 11:51
