Matko Zawrotna is a Flash rotary poem in which poetic sentences are spread out in separate spheres around the centre of a rotating wheel. While the wheel rotates the verses constantly realign each other, forming variable configurations.
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How do we piece together a story like this one? A mystery. The title offers more questions than answers. There he was, gone. Where is there? Who is he? Where has he gone? How is this sentence even possible? There he was, not there. As if "he" is in two places and in no place, both at once. The once of "once upon a time." This story has to do with time. This story has to do with place. That much is clear. We take time to look around the story space. What do we see? A corner of a map. An abstraction of a place too detailed to place, unless the places it names are already familiar. Is this a local story then? For locals, between locals… if we do not know the answer to this question, then we are not local. We seem to have stumbled upon an ongoing conversation. Listen. A dialogue of sorts. It's too late. An argument, even. One interlocutor instigates. Can't you feel anything? The other obfuscates. It's only the spring squalls over the bay. All that's not said between these two hangs in a heavy mist, a sea fret low over a small fishing boat turned broadside to a pack of hump-backed slick black rocks. This story is fishing inshore. Close to home. Tell me then. Where was he found? A litany of place names follows. No answers. More questions. Wait. Listen. This story keeps shifting. Slow scrolling lines of poem roll in. set sail on home sick ship shape house wreck. What help is that to anyone? We arrive and we have only just finished leaving. What use is a poem? We sift through the fine print, searching for clues. GALE WARNING IN EFFECT, Funk Island Bank. Weather conditions for today's date. Wind northwest 25 knots diminishing to west 15 this morning and to light this afternoon. Is the disappearance hinted at in the title a recent one? There he was, gone. Whoever he was, wherever he went, this story springs from his absence. J. R. Carpenter 2012
A digital interactive hypertext fiction in two braided paralell paths.
The Critical Sections interface enables you to sketch pieces of architectural and cinematic history, along with related commentary, onto virtual pages whose content and composition are under your control. The primary interface element is the "cluster".
“Three Rails Live” (2011) by Roderick Coover, Nick Montfort, and Scott Rettberg is an experiment in combinatory poetics, a generative system that results in the production of short narrative videos, stories with a moral to them.
The three collaborators put the system together at some remove from each other. Coover sent a selection of short video clips and images to Rettberg and Montfort. Rettberg viewed the clips and sorted them arbitrarily into themes (Landscape and Fate, Tourists, Death by Snake, Industrial Sites, Trains, Flood, Toxic, Flight, Stripped, and Third Rail), wrote short three short narrative segments for each theme, and then recorded readings of each of these narratives. Montfort selected particular images, and, borrowing a technique from Harry Mathews, wrote “perverbs”—remixes of two different proverbs that subvert the original—for each of the texts paired to an image. Montfort also constructed a title generator that arbitrarily creates a title for each run of the work. The system the authors constructed selects two image sets and two of the narrative recordings from a constrained random selection. A perverb with a moral to the story is then assigned and the process begins anew. The system thus results in short narrative videos with new juxtapositions of images, texts, and perverbs each time it runs. All of the texts and images emerge from this aleatory but thematically determined method.
Voice acting: Scott Rettberg (stories)
(Source: The ELO 2012 Media Art Show)
HTML and javascript, with H.264 Quicktime video and MP3 audio.
The tragic tale of two marriages, the death of a son and severe foot problems, followed by miraculous improved life thanks to custom orthotics, is all told using bullet pointed lists, slide transitions and simple graphs generated from presentation templates.
Other slideshow fiction works by Holeton include: "Voyeur with Dog" (2009), "Do You Have Balls?" (2011) and "Postmodern: An Anagrammatic Slideshow Fiction" (2017).
David Kettler wrote the music.
Bar codes, each accompanied by fragments of sentences and a play button are arranged on opposite sides of the page. Pressing the play button of the bar codes on the right hand side the user hears the words read aloud in a warm, present voice. The bar codes on the left side of the page also have voice recordings, but this voice sounds tinny and distant and speaks single English words, such as "distance", instead of the longer Spanish phrases that are written beneath each bar code.
Pinzas de metal was designed with Flash by Didier Delmas and written by Tina Escaja in 2003. It is an interactive hypertext novel which explores the daily life of young people, the places where they go and the objects that join them and take them appart in time and space. Their curiosity for travel, love, sex and drugs will take them to sublime states in which they will look for their own self and they will try to fill their feeling of emptiness with the presence of “the other”. The reader must use a magnifying glass to select a character, a place and an object and discover different stories within the same one. The multilinearity of the story provides the reader a feeling of intrigue and bewilderment. (Description written by Maya Zalbidea Paniagua)
Poem using images and video of sheep wearing words. A voice reads words when the mouse hovers over the appropriate photo.
“Negro en ovejas” es un poema ovino en formato digital que reproduce la instancia en negro de una imbricación ovina, esto es, la implicación de la palabra y la oveja en entramado de poesía interactiva que equipara el texto que las ovejas van formando por el prado con las variantes posibles en el artefacto electrónico. Se trata entonces de varios niveles de interacción y acción poéticas. Primero es el proceso de la construcción del texto, el poema-base formado por palabras que tienen sentido en sí mismas pero adquieren nuevos por interacción con otras (el sustantivo “Sol” y el verbo “Es” se transfieren al plural “Soles” por proximidad o contacto). Una vez construidas las piezas, se asignan a ovejas que libres irán formando poemas en un performance de acción y balidos que adquiere entidad propia. Por último, transcrito el encuentro al artefacto digital, el/la navegante en Internet puede acceder a reproducir el proceso en interacción cibernética y de intercambio de autoridad creadora y especies: el/la cibernauta, como las ovejas, construye la experiencia poética, hermanándose a su vez con ellas. La reproducción en [la revista] "Mandorla" captura acaso algunos de los versos a modo de sugerencia y propuesta en una última dimensión mediática. (Tina Escaja; Mandorla. Nueva escritura de las Américas / New Writing from the Americas. 16 (2013): 596-614.)