Built at the Internet Archive
Collection Name
Sort By:
Creator
Sort By:
Sites and collections from this organization are listed below. Narrow your results at left, or enter a search query below to find a collection, site, specific URL or to search the text of archived webpages.
Page 1 of 1 (11 Total Results)
Sort By:
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
Loading Wayback Capture Info...
Loading video data...
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: Readers of print conventionally ignore the page surface so as to concentrate on interpreting what is printed there; in "open.ended," by contrast, surfaces are integral. Readers interact with lines of poetry that appearon two translucent shapes - one nested within the other. Because words on the inner shape are visible through the outer one, the printed lines can be read together or separately. The number of possible surface/text combinations is limited, but by merging shapes a surprising range of new stanzas can result. The reader can also control her angle of view so that more than one surface is visible, though all the words may not be legible. As the surfaces obscure the words, the materiality of the digital shapes overcomes linguistic signification. This phenomenon of surface overcoming text also occurs when the shapes overlap and obscure portions of the text. "open.ended" amounts to a poem without beginning or end since one does not move through the text in any predetermined order, yet the poetic object has boundaries delimited by the eight rotating surfaces. The reader's interaction with the shifting text is augmented--and usefully constrained--by an audio track of the author reading so that we, reading to ourselves, are reminded of lines from the poem we have already encountered, or we are given a preview of text to come. Despite the literal instability of the moving text, the audio track is the same each time, which lends consistency to repeated readings. Entry drafted by: Ben Underwood
Loading Wayback Capture Info...
Loading video data...
Subject: poetry, flash, audio, interactive , 3D, spatialization
Creator: Aya Karpinska, Daniel C. Howe
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: Arteroids is a literary shoot-em-up poem-game for the Web. The battle of poetry against itself and the forces of dullness. Pilot your red id-entity text against poetry and the forces of dullness. Winner takes wall. Write your own texts in Word for Weirdos. Save poetry from yourself. Game mode or play mode. Play for life and death in game mode. Shoot for art in play mode. Go on. I dare you. Entry drafted by: Scott Rettberg
Loading Wayback Capture Info...
Loading video data...
Subject: cybertext, poetry, shockwave, animation, interactive , software, digital poetics, digital art, audio, hypermedia, kinetic, game
Creator: Jim Andrews
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.
Loading Wayback Capture Info...
Loading video data...
Subject: visual poetry, interactive , collaborative, textual instrument, women authors, shockwave, poetry, kinetic text
Collection: Electronic Literature: Individual Works
Description: "The Jew's Daughter" is an interactive, non-linear, multivalent narrative. A hypertext, but one that transforms the text (rather than just linking from one stable text to another). As soon as the reader moves the mouse over highlighted keywords (links), segments of a page replace one another fluidly. While always remaining syntactically and semantically intact, passages are replaced by a new text within a static rectangular text-space. The work's content corresponds to the unstable form: Characters, for example, are not fixed identities; they can be, by turns, contemporary and historical. The algorithmic text generation calls on readers to explore a text that changes with the addition or deletion of passages at random throughout the narrative. By placing authors and readers in direct relation to machine-generated text, this piece has helped ground debates on electronic literature. Entry drafted by: Patricia Tomaszek
Loading Wayback Capture Info...
Loading video data...
Subject: hypertext, collaboration, interactive , generative text, html/dhtml
Collection: Electronic Literature: Collections of Works
Description: Dreaming Methods projects combine writing with multimedia and web-based technology. All works require Flash Player to view, some pages are only available to subscribers (subscription is free). The collection of works contains exclusive new digital fiction, galleries, critical articles on digital literature and interviews. "Writing and essays" is a section with material discussing the work featured on the Site; with explanations on how it developed and what it might mean. Also, Campbell, the editor of the page as well as users discuss showcased works in an active exhange of thoughts in the discussion forum. E-lit submissions are welcome. Entry drafted by: Patricia Tomaszek
Loading Wayback Capture Info...
Loading video data...
Subject: flash, hypermedia, audio, interactive , essays, Graphics, interviews, kinetic text, Visual poetry or Narrative
Publisher: Andy Campbell
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: A multimedia online novel in three episodes set in China, Italy, and Russia, featuring a girl growing up in the 21st century. The episodes are part comic book, part animation, and part film, in a style intended to suggest Alice's developing career as an animator. Reader participation and interactivity increase as the series progresses, reflecting Alice's engagement and influence in her environment as she grows older. Episodes become more complex and the reader is asked to unravel riddles which become progressively more intricate. This way, Inanimate Alice has a game-like character but it also resembles theater, the coming-of-age novel, and the graphic novel. Entry drafted by: Patricia Tomaszek
Loading Wayback Capture Info...
Loading video data...
Subject: flash, fiction, interactive , Animation/Kinetic, collaboration, electronic music, video, graphic novel
Creator: Kate Pullinger, Chris Joseph
Collector: Electronic Literature Organization
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
Loading Wayback Capture Info...
Loading video data...
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
Loading Wayback Capture Info...
Loading video data...
Subject: Flash, Animation/Kinetic, textual instrument, audio, interactive , Graphics, synthetic voices
Creator: Stuart Moulthrop
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: Shadows Never Sleep is the final story in a series of narratives written by Aya Karpinska, each exploring different aspects of reading using digital media. As with the prior works in the series, Shadows Never Sleep is evocative of children's stories and folk tales. The work is designed to make use of the iPhone as a storytelling platform. Rather than turning pages or selecting paths through the narrative, readers "zoom" into the story revealing new images and text. Shadows Never Sleep is divided into three "pages," each containing more panels than the prior, 1, 8, and 64 respectively. The simple black and white images are interposed with minimal text, evoking the play of light and dark, and the anthropomorphization of shadows that constitute the subject of this work. Entry drafted by: Dave Parry
Loading Wayback Capture Info...
Loading video data...
Subject: interactive , children`s stories, zoom-narrative, iphone, picture-story, classic folk tale
Creator: Aya Karpińska
Collector: ELO
Collection: Electronic Literature: Individual Works
Description: The “Ballad of Sand and Harry Soot” is a poem written by Stephanie Strickland as a score for a hypertext implementation, coded by Janet Holmes. Its images are suggestive of digital or mathematical culture, including Webcam photos, a core dump, an animated fractal, and algorithmic patterns inscribed in sand by a computer-driven steel ball. The latter images are from Jean-Pierre Hébert’s and Bruce Shapiro’s work, "Sisyphus" (1999). These images accompany the text of a love poem, a ballad of love gone wrong, or at least not entirely right, between Sand and Soot. At one level, the disjunction of image and text mirrors the difficulties of this pair. However, this discordance will spring into resonant oscillation for readers who either see or read an avatar of carbon-based chemistry in Harry Soot and silicon life in Sand. Entry drafted by: Patricia Tomaszek
Loading Wayback Capture Info...
Loading video data...
Subject: hypertext, visual poetry, interactive , html, women authors, poetry
Creator: Stephanie Strickland, Janet Holmes
Publisher: Stephanie Strickland, Janet Holmes
Collector: ELO
Page 1 of 1 (11 Total Results)
