This is the complete genome of the Covid-19-virus as a soundpoem, using the source: https://www.ncbi.nlm.nih.gov/nuccore?term=MN9089%E2%80%A63
The Ring™ Camera Pandemic Log is an experiment in speculative surveillance, imagining what Amazon's smart doorbell cams see during the novel coronavirus lockdown, from the camera's glitchy perspective.
What dreams, hopes, and aspirations were broken by the global coronavirus pandemic in 2020? The Infinite Catalog of Crushed Dreams is an endless stream of procedurally generated disappointment, sadness, and grief.
(Author's description)
Slouching Towards Bedlam is an interactive fiction game that won the first place in the 2003 Interactive Fiction Competition. It [..] was finalist for eight 2003 XYZZY Awards, winning four: Best Game, Setting, Story, and Individual NPC (for the protagonist's cybernetic assistant, Triage). The game takes place in a steampunk Victorian era setting. Its title is inspired by a line from "The Second Coming", a poem by W.B. Yeats.(Wikipedia)
Taking the concept of identity theft to its logical conclusion, DNA is an interactive, Web-based novel set in the year 2075, in a future where genetic clones are commonplace and the unique identity of any individual is protected only by tacit consent. Detailing a year in the life of a clone who begins plotting to take on the identity of one of his "code partners," the novel includes a series of hyperlinks to real and fictional Wikipedia entries that provide a peek into the dystopic future of economic, agricultural, cultural, social, and political systems. Influenced by a range of electronic and experimental literary works published over the last fifteen years, DNA presents a non-linear narrative that allows each reader to select his or her own narrative path though the novel and to explore the text's connection to other fictional and non-fictional texts published on the Web. The networked architecture of the project enables the reader to not only construct and engage with the narrative world of the novel itself but with other narrative worlds that exist outside of the novel. Overlapping, relating to, and informing one another, the various narrative worlds created inside and outside of the novel draw attention to the dynamic and generative nature of digital narratives, as well as to their ability to challenge traditional notions and definitions of authorial intention, the role of the reader, and narrative point of view. Additional interactive features enabling readers to contribute their own texts and links to the novel are currently being developed. Conceived as a novel that will appeal to readers of literary and dystopic fiction, as well as to a new generation of readers who access texts exclusively via the World Wide Web, DNA is informed by various electronic literature projects, as well as by several important dystopic novels, including Aldous Huxley’s Brave New World, George Orwell’s 1984, Yevgeny Zemyatin’s We, and William Gibson’s Neuromancer. Fiction writers have been experimenting with digital hypertext and multimedia projects since the late-1980s, and several important works were published in the 1990s, including afternoon, a story (1990) by Michael Joyce, Victory Garden (1991) by Stuart Moulthrop, Patchwork Girl (1995) by Shelley Jackson, and 253 or tube theater by Geoff Ryman (1996). More recent hypertext and multimedia projects have been collected in the Electronic Literature Collection, Volume 1 (2006) and Volume 2 (2011). Combining my interests in creative writing, narrative studies and the history of the novel, the sociology of literacy, and digital Humanities, DNA is both a digital novel and part of an ongoing narrative-studies project that considers what effects digital authoring tools and reading platforms are having on fiction in general, and the novel in particular. Based on my own experience composing a Web-based novel, as well as on the analysis of other digital literary projects published in the last two years, and a review of digital literary projects published over the last fifteen years, I am studying how various elements of the novel as genre are being translated and/or re-conceived given the new possibilities and constraints created by multimedia tools for writing and reading. (Source: Author's Project Overview)
Some writers and theorists postulate that the most important literary art in the future will be translation. I believe that this translation is not simply between different global languages, for example, but between different manifestations of all expressive form, with a redefinition of what the expressive and the aesthetic fundamentally is. Translations: data into the verbal, the verbal into the visual, the visual into the audible, the audible into the tactile.
The theory and practice of poetry, concerning itself with such fundamental questions as what poetry is, what it does, and how it should be composed and "written," is known as poetics. Here I am concerned with the poetics of the computer-how form is transmutable, how tasks are multiple and fluid, and how to create with a machine that was intended primarily to number crunch. To this end, I am creating a virus which will explore a workstations architecture and will create a poetics of the computer as its own autonomous object, with guest data from users such as you or me.
First I am creating a virus that filters through all available material on a specified workstation and places it in an alternate context, such as a text file collage or a visual, spatialized world. Next I am taking that visible world and assigning audio elements and descriptors to the visuals. Finally, I am taking this world to a sensory environment of touch.
With this performance/installation project, I am examining the architecture of the computer as a space for examining digital cultural creation and the structures behind the myths of personal productivity. The installation is based on the spatial metaphors associated with the use of the computer hardware and software, and ultimately established a poetics of, for, and by the computer workstation. We should turn now to the machine's parts. Actual hardware and software components and functions are areas almost completely overlooked by scholars and theorists because the actual workings of computational machines is strategically mystified and misunderstood. The "space" of the hard drive is parceled out in divisions, sectors and can be mapped, imagined, and filled. What happens when the user types a text document or creates a graphic and saves it? The operating system chooses areas of the hard drive on which to write the data. Unlike the typical 3D game experience, the maneuverings inside the "world" of the hard drive are supposed to be entirely masked to the user. Yet the operation is very place-specific. This installation will ultimately allow users to feel and literally manipulate the data and come to an understanding that the workings of the computer are documentable and tangible, much like human's digestion of our lunch.
This seemingly non-systematic activity-to manipulate the space of the machine-relies upon a range of potential truths relating to data and the manner in which the data is presented. It exposes the computer as our virtual palimpsest, the place where the residues and actions of our lives are kept, erased, partly recorded.
(Source: DAC 1999 Author's abstract)