Presented at conference or festival

Traces is a collage of text, spoken word, sound, and digital projection. The text forms durational video and audio composed into 17 sections (excerpts included), which are triggered over the course of an hour in a continuous fashion. The video was designed to be incomplete and unfold over time--drawing attention to the chance encounter each person may have with it. It does not reveal the totality of its content, part of which falls outside of the frame. I worked with archival materials as I built this project (oral histories and personal collections). I was interested in these sorts of personal collections being displayed and open for perusal. As private spaces become redefined by digital possibilities, information is readily transferred from one form into another and meaning is subtracted and added along the way. Traces is my own collection. Photographs become data, which initiate recordings that are transcribed and then re-recorded. These then become projected text, and finally transform into granulated rhythmic pulsations and fragments of words, which becomes a vastly layered resonant soundscape felt as vibration through the body.

(Source: ELO Conference: First Encounters 2014)

“Don’t Panic ” is a simple game created using the Twine platform. As the player, you embark on a journey to get ready to go out with a friend. The catch is you suffer from panic disorder and you must stay calm. The goal of the game is to remain is to make choices that don’t lead to panic attacks and make it out of the house. It’s pretty straightforward. I ’d also like to point out that this is just my personal take on panic disorder and panic attacks. I ’m not speaking for everyone. This is just how things usually occur for me. With that said, Happy playing and stay calm! (Source: Elo conference: First encounters 2014)

Symmetries is a digital text comprised of approximately three hundred eighty sextillion poems, or about one poem for every star in the universe. Given enough time, the piece will shift through all possible poems, but it does not do so entirely at random. Rather, Symmetries wanders through these poems according to three mathematical symmetries known as SU(3), SU(2), and U(1) that describe almost everything we know about how the universe works. That is to say everything we see in the world is what it is and behaves the way it does because of these three symmetries. Just as distant stars and nebulae and all living things are linked by these shared symmetries, so too are all of the words and poems (and even the background music) of this piece.

(Source: ELO conference:First encounters 2014)

wanted:Guild is a new take on interactive documentary that uses spatial exploration to fuel story. Through audience interaction with audio nodes a narrative is revealed about the intersection of the real and virtual lives of hardcore World of Warcraft gamers. wanted: Guild offers a peek behind the screen for the casual and non-gamer, revealing to them a world of complexity that is often overlooked.

(Source: Elo conference: First encounters 2014)

best.hello is a web poem, composed of original and appropriated texts. The appropriated texts were liberated from emails received by the author. Both bodies of text have been fed through a text-manipulation program to reorder the words, interleaving them to unfold new layers of meaning or interpretation. The resulting poem, best.hello, utilizes the affordances of both time-based visual media and the encounter with a ‘pop-up’ ad or alert box on the web. When combined, the two create a dialogue between them that refuses to be ignored or passively experienced: the alerts trigger the browser to jump to the front of other running applications, asserting the poem even after it has been minimized or concealed behind other applications. Even while the text obscures itself, several orders removed from its original context, shifting in and out of legibility, it demands to be read. What would be the "best" hello? Is it one that cannot be ignored? best.hello exists in the tension between restraint and release, hiding while wanting to be found in the most mundane of cultural exchanges: the greeting.

(Source: ELO 2014 Conference)

Round is a computational poem that is both non-interactive and deterministic. It is computational in that computation is an essential aspect of the work, non-interactive because there is no input accepted as the program runs, and deterministic because the text produced should be the same each time on any properly-functioning computer. The poem is also infinite (in the sense of boundless); there is no final line or internally specified condition that will cause the program will stop. Round is not never-ending, since whatever computational resources one has will eventually be exhausted, but there is no pre-set length to the poem. The poem is assembled out of ten fragments, one of which is a newline (line break). The other nine are strings of legible text. Round computes the digits of π, pausing after each digit is computed. (Each time Round is loaded, it begins at 3, continues to 1, continues to 4, and so on.) For each digit computed, the fragment corresponding to that digit is added to the poem. If the fragment selected is a line break, Round begins a new line. (Source: author description)

This multiplatform digital work references an event connected with the history of Košice and its tobacco factory from 1851 which employed mostly women workers. Some decades later, when St. Elizabeth's Cathedral was being renovated, the women workers donated a candle chandelier. The chandelier itself was repurposed twice – from the original candles, to gas lighting and with the advent of electricity, was turned upside down. In the installation, images of the chandelier from the cathedral are randomly generated and projected onto a screen in a flux of forms. Simultaneously the words connected with this story appear projected on the walls of the room, and phonetic sounds from Slovakian, Hungarian and German are generatively mixed in to create the soundscape of languages that were once spoken in the very same place by women workers.

(Re)Playing The Lottery is a dynamic reinterpretation of Shirley Jackson's famous short story, "The Lottery." It presents a scenario in which the interactor is a a citizen of the small town on the day of the fateful lottery, and must move through the story by making various choices which result in random outcomes - no matter how many times the story is played, past results are no guide to future outcome. Just as the story hinges on the chance selection of a marked ballot from a box, this piece employs chance selection as its central mechanic, demonstrating one way in which interactive media can help readers inhabit and interrogate existing texts from multiple perspectives. (Source: ELO Conference 2014)

A 21st century art historian confronts the known and the unknown in both his life and his work, as - in a polyphonic 19th century remix - And Speak of Long Ago Times replays the words of 19th century Florentine sculptor Giovanni Duprè; replays Giuseppe Verdi's words from his autobiography that concern his antislavery opera Nabucco; replays the Narrative of the Adventures and Escape of Moses Roper from American Slavery which was published in London in 1837 and went through at least 11 editions. It is 1842. The Irish American sculptor Hiram Powers is in his studio in Florence, creating a model for The Greek Slave. It is the year that Nabucco premiered at La Scala in Milan. The Irish woman poet Frances Browne has just published "Songs of Our Land" in the Irish Penny Journal. Her words echo in 21st century art historian, Liam O’Brien’s, informal translation of the chorus of Hebrew slaves from Nabucco: "Va Pensiero." I have for many years - since I first told Uncle Roger on Art Com Electronic Network on the WELL in 1986 - been working with the oral literature aspects of telling a story in the Homeric tradition, in an electronic community or "town square" of people seen and unseen on the World Wide Web. Written with a variation of my fiddlers_passage authoring system, And Speak of Long Ago Times is part VI of the continuing epic work of public literature: From Ireland with Letters. (Source: ELO 2014 Conference)

radioELO archives and curates aural information associated with works of electronic literature. This might include author traversals of their work(s) during which they discuss their inspirations and problem solving, or the state of electronic literature at the time of their creation(s). Reevaluations and retrospectives, commentary and reviews, even testimonials, memoirs, and oral histories may also be included. Beyond spoken voice, radioELO also archives soundtracks, soundscapes, and sound collages associated with or considered as individual works of electronic literature. With such information available for on demand, online listening, radioELO is a laboratory in which to examine and discuss the changing nature(s) of electronic literature. Works featured in radioELO are: eLiterature A-Z (Roderick Coover), Soundscapes and Computational Audio-Visual Works (Jim Bizzochi and Justine Bizzochi), Song for the Working Fly (Alan Bigelow), No Booze Tonight (Steven Wingate), ARCHIVERSE In Relation ELO 2014 (Jeff T. Johnson and Andrew Klobucar), The Obsolete Book in a Post-Obsolete World as Represented by a Post-Obsolete Book About Dance (Eric Suzanne), “Where’s Waldo?::Where’s the Text?” (John Barber), Sc4nda1 in New Media (Stuart Moulthrop), Radio Salience (Stuart Moulthrop), Under Language (Stuart Moulthrop), Circuits—from River Island (John Cayley), Califia (M. D. Coverley), The Unknown (William Gillespie, Scott Rettberg, Frank Marquardt, and Dirk Stratton), The Roar of Destiny (Judy Malloy), Uncle Buddy’s Phantom Funhouse (John McDaid), Pieces for Simultaneous Voices (Jim Rosenberg). All sound fragments are available at the source listed below.

(Source: http://radionouspace.net/radioelo.html)