The Ice-Bound Concordance is an award-winning interactive narrative game where story pieces are as fluid as building blocks, and where endings are discovered with the help of a physical printed art book, The Ice-Bound Compendium.
(Source: Website)
The Ice-Bound Concordance is an award-winning interactive narrative game where story pieces are as fluid as building blocks, and where endings are discovered with the help of a physical printed art book, The Ice-Bound Compendium.
(Source: Website)
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)
Instructions for Use
After the Feed window has filled with text, click the Continue button at the bottom to generate new text. If the Feed window is not open, click the Read Feed link on the title page to open it. You can also click the Read Feed link to reset the text generator to its original state.
The old rites of literature are quickly starting to come to a head, and as we move through the 21st century we will find ourselves staring into new modes of expression of literary concepts that we have known only on the printed page for centuries prior. Meta-fiction not only allows for new ways of approaching a narrative but also new ways of approaching literature in general, including electronic literature. Questioning the boundaries between the reader and the writer, the audience and the performer, the characters in the text and the ones reading it, one might say that meta-fiction was one of the first forms of hypertext mediums in which the reader was encouraged to draw on outside influences and information to arrive at the heart of the text. This understanding of meta-fiction, then, makes it an appropriate place to begin an analysis of new modes of discourse and the variability of the messages presented. In such a textually-conscious style of writing, how does the narrative alter according to the mode of presentation while still retaining a questioning and awareness of the literary roots? How does electronic writing make itself particularly appropriate for these sorts of questions? Exploration of such fictional representations that bring to the forefront the act of writing allow for identification of several competing and differing aspects of meta-fictional works and corresponding electronic literature: the accessibility to the reader, the role of imagination and the uncertainty of the truth of its representations, a self-consciousness about language, the changing role of the author, and a sense of play about the work of writing and reading about the lives of others.
FILMTEXT 2.0 is an elaborate work of net art that investigates emerging forms of electronic literature in relation to interactive cinema, live A/V performance, games, and remix culture. It remediates formal experiments from older media like film, video art, and the visual/metafiction novel.
(Source: Author's abstract at narrabase.net)
"FILMTEXT" is a digital narrative created for cross-media platforms. It is has appeared as a museum installation, a net art site, a conceptual art ebook, an mp3 concept album, and a series of live A/V performances. In the initial 1.0 iteration of the net art site, commissioned by PlayStation 2 in conjunction with Amerika's "How To Be An Internet Artist" retrospective at the Institute of Contemporary Art in London, Amerika referred to "FILMTEXT" as "the third part of my new media trilogy," following his two other major works of Internet art, "GRAMMATRON" and "PHON:E:ME."
(Source: Description for the 2008 ELO Media Arts show)
