graphics

This is a story about a girl, a woman and an old sailor told in images, sounds and fragments of text that the reader must find by navigating through a dreamlike ocean landscape. By taking advantage of the affordances of a tablet, Simon Flesser and Magnus Gardebäck have created a fictional world built on an exceptional lyrical narrative, engaging graphics and a soundtrack that completes a well balanced enviroment that readers will love to navigate. The work uses the iPad in portrait mode, and begins with a dark screen with the words: “It’s night.” The reader swipes the words to the left to read more, sentence by sentence on the dark screen: “A girl lies in her bed. There’s not a sound. No footsteps in the hallway, no one talking or whispering. Everything is quiet. The girl shuts her eyes.” The sound of waves fades in, and you see you are in the ocean with islands to explore. A visual hypertext without links, you navigate through this world finding spaces that lead to short texts that seen together tell a story of loss, memories and fire.

This adaptation of the prize-winning children's book "Don't Let the Pigeon Drive the Bus" is a combinatory work where children can choose between three options. The "Egg" mode generates a story without input from the child. The "Chick" mode lets the child choose from sets of objects and goals, for instance, "Complete this sentence: The Pigeon wants to... rule the world / drive a bus / eat your dinner." The story is then told with the child's choices inserted. In the "Big Pigeon" mode, the child can record their own story elements and a story is generated using the child's voice along with the pre-recorded audio.

a poem written in a country distant from permanent residence, distance is obvious

Interactive poem 4079 is programmed in Processing using JavaScript. Both text and graphic user interface bring the theme of distance, moving between conditions, it questions connectedness and separation, physical and psychical proximity, remoteness and attachment. Poetics of the piece lies in the perception of individual lines of the poem as well as in interacting

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with the dynamics of the dots and their layers. There is no set sequence of reading, so the beginning and the end may be any of the eleven

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lines. User’s manual: Text is revealed by mouse-over one of the dots, clicking

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on it, its pulling and release. Some dots are hidden under the other dots. Read the poem 4079

(Source: http://delezu.net/blog/2014/04/23/4079/)

Screen Grab tutorial of how to make simple computer graphics using the BASIC programming language. This continues JODI's work for the Sinclair ZX Spectrum computer. (Source: Mike Connor - FACT Centre Liverpool)

Created by babel and 391.org, Animalamina, a collaboratively constructed work of multimedia poetry for children, consists of 26 pages of flash-based poetry organized around the letters of the alphabet.  The key aim of this project is to introduce a younger audience (5 - 11) to a variety of styles of digital poetry, animation and interaction, through the familiar format of an animal A-Z.  As the project’s “background” page notes, this work is situated within a tradition alphabet primers that stretches back over 500 years.  This background is noteworthy precisely because of the tradition’s combination of pedagogy and play, instructing new generations in the mechanics of emerging techniques and technologies.  Specific innovations introduced in this recent ABC are animation, audio, interactive content, non-linearity and chance.  

The poems are hidden in 26 interconnected scenes which are revealed through various types of animated, visual and generative poetry, and game-type interaction. Each scene represents a specific animal/poem, and is revealed by interaction within the scene. Each scene has been designed to be different from the others in the style of narration, illustration and interaction, to create a series of unique environments that are exciting to traverse and uncover. There are two styles of play: in the 'game' version, the reader chooses their own path through the scenes, and progress into new scenes is rewarded by the corresponding letter at the bottom and the ability to jump back to that scene at choice. In the 'teaching' version, all the animals are accessible from the start with the cheat button (the ladybird/ladybug at the right hand side of the starting Alligator scene).

Animalamina is eclectic in feel and operation, incorporating paintings, photography, drawings, three-dimensional renderings, and mixed-media images as well as offering many different ways to read, interpret and interact.   All in all, this contemporary take on a centuries old literary form offers many surprises, reaffirming the interdependence of human expression and innovation, and offering delightful lessons for children young and old.

(Source: Electronic Literature Directory entry by Scott Rettberg and Davin Heckman)

The CD-ROM edition of a "computerized video novel" first published in 1990. See entry for original publication for details.

"The first in a line of "computer video novels" that meld text, graphics, and video", according to Robert Kendall in his article "Writing for the New Millenium: the Birth of Electronic Literature." The WorldCat entry summarised it thus: "Through interplay of computer and video, the story of a professor and his wife and their quest to start a family is told," and specifies that the work consists of a VHS tape with a 3.5" floppy disk.

(The publication date is from the WorldCat record for the floppy disk edition, and I haven't found any supporting evidence of such an early date - or another date, either. Is it likely that the CD version would have come five whole years later?)

[Note that the 2007 is for the Quicktime version. riverIsland was certainly published several years before this, but I have not been able to find the year. -JWR]

riverIsland is a navigable text movie composed from transliteral morphs with (some) interliteral graphic morphs. It is an investigation of procedures of textual transformation associated with translation, which are proposed as transliteral.  (Source: author description)