Adobe Flash

Short description

"A Toast to the Flash Generation" took place on New Year’s Eve Day to celebrate the genius of the Flash Generation. Over 20 artists of Flash narratives, poetry, and essays will read and performed their works throughout the day via Zoom.

The term, “Flash Generation,” coined by theorist Lev Manovich in 2005, captured the zeitgeist of a new era of cultural production when artists and writers discovered they could express their creativity through movement, images, sound, and words through Flash software. Online journals like Poems That GoRiding the MeridianThe Iowa Review Web, Caudron & Net, BeeHive, and many others, emerged as leading publishing venues for this new form of born digital media. During the heady period of 1999 to 2009, Flash influenced the development of net art, interactive art, Flash games, and literature, Image removed.not to mention personal and organizational websites. It wasn’t until the rise of the Apple smart phone at the end of the first decade of the 21st century that Flash’s dominance as a viable form of digital production waned. After December 31, 2020 Adobe will discontinue its support for Flash, and all of this output will be threatened with obsolescence.

This event––besides celebrating the end of an important creative period and showcasing the wonderful Flash e-lit collected by the Electronic Literature Organization in its Repository––aimed to document it for posterity. The recordings and chat collected via Zoom will be held in the ELO Repository, has been made available on the Electronic Literature Lab’s Vimeo account, and will be published in Electronic Book Review.

During the event we provided information about the steps the Electronic Literature Lab is taking to preserve Flash works held in the Electronic Literature Repository and its own digital library. 

At the end of the event, Leonardo Flores, Chris Funkhouser and Dene Grigar lead the Toast to the Flash Generation.

Below is the program of readers/performers, featured works, and URLs to the work:

10:00 a.m.-10:15 a.m. PSTWelcome: Dene Grigar, Anastasia Salter, Mariusz Pisarski

10:15 a.m.-10:30 a.m. PSTAnnie Abrahams (France) “Séparation,” ELC2http://collection.eliterature.org/2/works/abrahams_separation/separation/index.htm

10:30 a.m.-10:45 a.m. PSTDan Waber (US): “Strings,” ELC1https://collection.eliterature.org/1/works/waber__strings/index.html

10:45 a.m.-11:00 a.m. PSTTina Escaja (Spain, US): “Pinzas de metal” (Forthcoming to the Repository)https://www.badosa.com/bin/obra.pl?id=n175

11:00 a.m.-11:15 a.m. PSTKate Pullinger (CAN, UK): “Inanimate Alice: Episode 1,” ELC1http://collection.eliterature.org/1/works/pullinger_babel__inanimate_alice_episode_1_china/index.html

11:15 a.m.-11:30 a.m. PSTDonna Leishman (Scotland): “Deviant: The Possession of Christian Shaw,” TIRWhttp://www.6amhoover.com/xxx/start.htm

11:30 a.m.-11:45 a.m. PSTReiner Strasser (Germany) & Marjorie Luesebrink “– in the white darkness,” ELC1http://collection.eliterature.org/1/works/strasser_coverley__ii_in_the_white_darkness/index.html

11:45 a.m.-12:00 p.m. PSTMaria Mencia, (Spain, UK) “Birds Singing Other Birds’ Songs,” ELC1http://collection.eliterature.org/1/works/mencia__birds_singing_other_birds_songs.html

12:00 p.m.-12:15 p.m. PSTChristine Wilks (UK): “Fitting the Pattern,” ELC2http://collection.eliterature.org/2/works/wilks_fittingthepattern.html

12:15 p.m.-12:30 p.m. PSTClaudia Kozak/Leo Flores: Ana Maria Uribe (Argentina): From “Anipoemas,” TIRWhttps://www.elo-repository.org/TIRweb/tirweb/feature/uribe/uribe.html

12:30 p.m.-12:45 p.m. PSTRui Torres (Portugal): “Amor de Clarice,” ELC2http://collection.eliterature.org/2/works/torres_amordeclarice.html

12:45 p.m.-1:00 p.m. PSTStephanie Strickland (US): “slippingglimpse,” ELC2http://collection.eliterature.org/2/works/strickland_slippingglimpse/slippingglimpse/index.html

1:00 p.m.-1:15 p.m. PST Break

1:15 p.m.-1:30 p.m. PSTClaudia Kozak: Walkthrough of Regina Pinto’s “Museum of the Essential and Beyond That” (Brazil)https://www.elo-repository.org/museum-of-the-essential/

1:30 p.m.-1:45 p.m. PSTJim Andrews (Canada): “Nio,” Turbulence.orghttp://turbulence.org/Works/Nio/

1:45 p.m.-2:00 p.m. PSTAlan Bigelow (US): “This Is Not a Poem,” (Forthcoming to the Repository)https://webyarns.com/ThisIsNotAPoem.html

2:00 p.m.-2:15 p.m. PSTSerge Bouchardon (France): “Toucher,” ELC2http://collection.eliterature.org/2/works/bouchardon_toucher/index.html

2:15 p.m.-2:30 p.m. PST Break

2:30 p.m.-2:45 p.m. PSTRob Kendall (US): “Faith,” Cauldron & Nethttps://elo-repository.org/cauldronandnet/volume4/confluence/kendall/title_page.htm

2:45 p.m.-3:00 p.m. PSTLeo Flores reads David Knoebel (US): “Thoughts Go,” ELC3http://collection.eliterature.org/3/works/thoughts-go/index.html

3:00 p.m.-3:15 p.m. PSTStuart Moulthrop (US): “Under Language,” TIRWhttps://www.elo-repository.org/TIRweb/vol9n2/artworks/underLanguage/index.htm

3:15 p.m.-3:30 p.m. PSTJody Zellen (US): “Disembodied Voices,” Turbulence.orghttp://www.disembodiedvoices.com/

3:30 p.m.-3:45 p.m. PSTErik Loyer (US) and Sharon Daniel (US): “Public Secrets,” ELC2http://collection.eliterature.org/2/works/daniel_public_secrets/index.html

3:45 p.m.-4:00 p.m. PSTJason Nelson (US, AUS): “Game, Game, Game, and Again Game,” ELC2http://collection.eliterature.org/2/works/nelson_game_game_game/gamegame.html

4:00 p.m.-4:15 p.m. PSTDeena Larsen (US): “Firefly,” Poems That Gohttp://elo-repository.org/poemsthatgo/gallery/fall2002/firefly/index.html

4:15 p.m.-4:30 p.m. PSTMez Breeze (AUS): “_Clo[h!]neing God N Ange-Ls_,” Cauldron & Nethttps://elo-repository.org/cauldronandnet/volume2/features/mez/clone/cl…

4:30 p.m.-5:00 p.m. PSTConversation and Toast: Leo Flores, Chris Funkhouser, and Dene Grigar

Record Status
Description (in English)

Digital Fiction Curios is a unique digital archive/interactive experience for PC and Virtual Reality.

The project houses works of electronic literature created in Flash nearly two decades ago by artists Andy Campbell and Judi Alston of Dreaming MethodsOne to One Development Trust‘s award-winning in-house studio.

Dreaming Methods is responsible for some of the internet’s earliest media-rich digital fiction. Much of that work was created in Flash, a technology that will be removed from all major web browsers in 2020. Curios archives and re-purposes three of our Flash works originally made as far back as 1999 and makes it uniquely possible to explore them in VR.

From fragments of words held in glass bottles to sprawling apocalyptic dreamscapes, Curios offers an immersive glimpse into Dreaming Methods' signature world of dream-inspired narratives, living texts and lost realities. 

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CC Attribution Non-Commercial No Derivatives
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Description (in English)

Radikal Karaoke is an online device intended to allow any user to deliver political speeches. Politics worldwide is almost exclusively devoted to rhetoric and speeches are structured on emphatic and demagogic formulae, linguistic clichés that reproduce themselves as viruses.

By mechanically repeating slogans we have turned ourselves into an automated society. It is not we who speak, but others that speak through us. Radikal Karaoke aims to interrogate hegemonic discourses. It contrasts the desire for utopia and the everyday, revolutionary spirit and scam.

Description (in original language)

Radical Karaoke consiste en un dispositivo online cuya finalidad es permitir que cualquier usuario pueda enunciar discursos políticos.
La política, a nivel mundial, se dedica hoy casi exclusivamente a la retórica. Sus discursos se estructuran en base a fórmulas enfáticas y demagógicas, sin contenidos específicos. Su función principal parece ser la de crear clichés lingüísticos cuya única meta, al igual que los virus, es repetirse a sí mismos. El obligado uso del teleprompter en los discursos políticos remite, además, al fenómeno del ventrilocuismo y el karaoke.

Description in original language
Pull Quotes

In Radikal Karaoke, Argentine-Spanish artist Belén Gache critiques the creation and proliferation of political speech.

When readers allow Flash to access the microphone, they are instructed to “Choose a speech, read and interpret what they have written for you, considering that the sound of your voice can change the image of the screen.”

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Description (in English)

Daniel Merlin Goodbrey’s Icarus Needs is part of a series of works in which Goodbrey draws on the dual aesthetics of comics and classic video games. Built in Flash, the piece is strongly visual and provides a world of panels to explore. The player moves Icarus through the panels using standard keyboard controls, encountering dream-like objects (such as an oversized telephone) and hitting many dead ends and simple item-based puzzles that block progression out of the dream. The game as dream metaphor is explored fully (as one fragment of text warns, “Don’t fall asleep playing video games”) and creates a compelling world of flat 2D visuals in different monochromatic palettes. Icarus Needs is a hypercomic adventure game staring everyone's favourite mentally unhinged cartoonist, Icarus Creeps. (Source: ELC 3)

The goal of the game is to find his girlfriend, save her and escape the game. He need's to complete different tasks to do so. The tasks are puzzles that Icarus needs to solve, and when a mission is given is either by Icarus himself or another character. He communicates trough talking bubbles. 

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By Eric Dean Rasmussen, 22 June, 2012
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Abstract (in English)

Perhaps the most disturbing and exciting periods of a digital poet’s creative practice is the transitional period between using one technology and learning another. For the past eight years I’ve been predominately a user of Adobe Flash. I say user, because in many ways
the software is a drug, carving response and reward pathways into the cranium fibers. My creations have been the beneficiary of a tool ideal for multi-layered/dimensional and interactive artworks viewable on all major platforms. However, it is this platform issue and Adobe’s losing
position in its battle with the Tyrant Apple that is quickly making Flash obsolete, unplayable in the fastest growing segment of electronic devices, tablets and phones. This very well might turn around and Flash might save itself. But suffice it to say, the net/portable creative ndustries have left Flash to fend for itself.
(Source: Author's abstract, 2012 ELO Conference site)