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Collection: Electronic Literature: Individual Works
Description: In Errand, animation is used to establish links and disjunctions between images of moving objects in the natural world (e.g. frogs and butterflies) and the lexical and figural dynamics of the poem. These visual-kinetic images heighten the tensions among the meaning-mobilizing acts of "seeing an image," "watching a movement," and "reading a word"; and insofar as these works also employ cursor-activated elements, between "touching" and "reading." Errand reflects on the nature of language and of reading, and these self-reflexive elements are embedded in considerations of how protocols of reading shape our consciousness. In calling attention to gaps between "movement" and "meaning," between "reading" and "acting," Errand grounds its kinetic poetics in concerns of ethics and cultural politics. Entry drafted by: Patricia Tomaszek
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Subject: shockwave, women authors, animation, collaborative, interactive, visual poetry, textual instrument , kinetic text, poetry
Creator: Stephanie Strickland, M.D. Coverley
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: As the author writes in an introduction to the piece, "Lexia to Perplexia" (2001) began as an observation of the fluctuating and ever-evolving protocols and prefixes of internet technology as applied to literary hypermedia. As well, "Lexia to Perplexia" was originally meant as a critique of both the Author and User/Reader positions in relation to web-based literary content." That is, the reader will notice that in all four sections of the work – "The Process of Attachment," "Double-Funnels," "Metastrophe," and "Exe.termination" -- "Lexia to Perplexia" makes wide use of neologisms as a means of presenting, in Katherine Hayles´ words, "a set of interrelated speculations about the future (and past) of human-intelligent machine interactions, along with extensive resinscriptions of human subjectivity and the human body" (Writing Machines 49). However, the text is performed not only linguistically, but also narratively and visually. Narratively, Memmott alludes to classical literary references ranging from ancient Greek and Egyptian myth to postmodern literary theory reflecting on humans, technologies, and their collaborative agency. Visually, the work makes use of interactive features which override the source text, leading to a fragmentary reading experience. The functioning and malfunctioning of the interface itself carries as much meaning as the words and images that compose the text. As Memmott also instructs his readers to note, the "User/Reader of this piece…encounters a number of screens that appear simple upon access. As the User/Reader interacts with the presented objects -- images, textual fragments, various UI permutations -- the screens are made more." Entry drafted by: Lori Emerson
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Subject: Animation/Kinetic, textual instrument
Creator: Talan Memmott
Collector: ELO
Collection: Electronic Literature: Collections of Works
Description: The Iowa Review Web’s issue on “Instruments and Playable Text” (published in July 2008, guest edited by Stuart Moulthroup) features seven poetic and narrative works by six authors concerned with writing at the level of interface and code. The featured works (by Judy Malloy, John Cayley, Nick Montfort, Shawn Rider, Elizabeth Knipe, and the editor himself) all explore operations of permutation, chance, and remixing prompted by the reader’s actions. These programmed digital works invite readers to engage in the (literary) play indeed, reading and play in these texts are inseparable. Readerly actions include clicking on images and texts in Malloy’s Concerto for Narrative Data to invoke voices and texts to appear in various formations and juxtapositions. In Nick Montfort’s The Purpling, color-coding and clickable text chunks cause the poem to gradually change into different texts. John Cayley’s riverIsland employs navigation via images, via clickable icons, or by dragging QuickTime images, to access 32 poems reflecting on nature, translation, and language. Both Elizabeth Knipe’s activeReader and Shawn Rider’s two works, So Random and PiTP, invite the reader to enter texts of their own. Finally, Moulthrop’s polyphonic Under Language mixes written text with spoken words and sounds as the reader clicks on the interface’s icons and texts. In this work, as in Cayley's riverIsland, sounds and spoken words also engage the reader as a listener. Different kinds of play, interaction, and participation are juxtaposed with the more standard ways of intellectually engaging with a literary work. Along with the works, The Iowa Review Web issue includes an editor’s introduction and statements by many of the featured artists/authors. Entry drafted by: Maria Engberg
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Subject: Quick Time, poetry, combinatorial, textual instrument , fiction, Critical/philosophical, women authors, html/dhtml, procedural, java, constraint-based, action script
Publisher: Stuart Moulthrop, Jon Winet, Mark NeuCollins
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: A Shockwave work by Stephanie Strickland and Cynthia Lawson. This work was made as the third component of an intermedia poem whose two other parts were bound together, upside down to each other, in a volume written by Strickland and published by Penguin, V: WaveSon.nets/Losing L'una, 1992. At the center of the book are pointers to the url. The digital poem was published in the Iowa Review Web, 2002, with critical material by Jaishree Odin, and with an essay by the authors in New River, 2003.
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Subject: visual poetry, interactive, collaborative, textual instrument , women authors, shockwave, poetry, kinetic text
Collection: Electronic Literature: Individual Works
Description: A visual index, with a paragraph of description, of each of Jason Nelson's work. Scrolling from the bottom of the page to the top lets one view the artist's work chronologically from 2001 to the present, offering one potential trajectory for the field development as a whole, spanning hypertexts, short fictions, poems, haikus, games, all of which are computer generated and include image in combination with multimedia elements, code, text, and sound. Browsing the collection means witnessing the ways electronic literature involves readers and shows the potential for involving programming and multimedial devices and embedded text as in, for example the flash-based work titled, "this will be the end of you: play4: within within." Here, holding the mouse allows the user to move "into words" and to play with text as it emerges. Readers control the movement on the interface by holding or releasing the mouse and can thereby determine the mouse driven fly through of texts and images that float towards or away from the user. Or the work, "game, game, game and again game" which uses the a side scrolling gaming interface to navigate through a mix of poetics content and corresponding hand-drawn elements. This play, either literal or through interface serves as a metaphor of what Nelson wishes to transfer with the artwork: some scattered [imaginations, some] oddly organized fire of thoughts and incomplete ideas" or simply a comment on the internet and its nonlinearity and the new possibilities of digital poetics. Entry drafted by: Patricia Tomaszek
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Subject: hypertext, flash, generative, audio, animation, textual instrument , net art, digital poetics, poetry, network forms, combinatorial, interactive, visual poetry, fiction, appropriated texts
Creator: Jason Nelson
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: On immersion in reading and its risks - where reading means, in this case, pointing and clicking on the work's interface and thereby diving, submerging, and even to risk drowning in the literary pool. The work opens with a simple proposition: "what if the pages of a book - or more accurately, the SO_CALLED PAGES OF THE WEB - were made from some pliable fluid, like water, so that we could dive gradually from one plane of presentation to the next?" The reader is presented with a structure for setting up dive points on the reading interface. At these points, the reader may hover, move to another point, or else move up or down to earn points for a successful reading approach. This kind of imersion through clicking, chosing, and wandering might be thought closer to a game than a literary text, although we have to know something about the developing text to know how to play, how "to breathe," and especially how to read inside this textual immersion. An original take on the peculiarity of electronic textuality, Deep Surface is perhaps best regarded as a textual instrument. Entry drafted by: Patricia Tomaszek
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Subject: Flash, Animation/Kinetic, textual instrument , audio, interactive, Graphics, synthetic voices
Creator: Stuart Moulthrop
Collector: ELO
Page 1 of 1 (6 Total Results)
