A story revealed by opening a character's eyes, pulling apart his memories and grasping his infinitely scrolling thoughts. Six years ago, James–a demolition expert–returned from the First Gulf War. Explore James' mind as his vision fails and his past collides with his present. This app delivers an iPad-based reading experience in the form of a book to watch and a film to touch. App is co-authored by Danny Cannizzaro and Samantha Gorman.
Source: WorldCat.com
Common Spaces is an experimental performance that translates spatial poetry into a multidisciplinary collaborative environment that gathers the physical and the virtual spaces. This performance mixes in realtime distinct types of media in a sort of multi-modal orchestrate. A multi-sensorial performance based on our hand gestures (Leap Motion), vision (camera) and voice (microphone).The common-space derives from the notion of common ground as the medium and the process of communication. It can be understood as a mutual understanding among interactors – as the iterative process of conversation for exchanging evidences between communicators – as an interface.
(source: http://www.grifu.com/vm/?cat=74)
For the past thirty years, and especially since the popularization of real time 3D graphics processing in the mid-nineties, the computer and videogame industry has been caught up in a graphical arms race: a relentless and blind pursuit of ocularcentric spectacle culminating in the hypertrophy of the visual economy in games like Hideo Kojima’s Metal Gear 5: The Phantom Pain. Alongside this cinematic hypertrophy, a generation of players and designers have internalized the logic and codes of videogames to produce games and game practices which engage the non-visual conditions of the medium. These games have made use of atrophy and the attenuation of visual gameplay as a form of critical game design resulting in games like The Helen Keller Simulator, an unpopular internet meme that consists of a black (or blank) image with no audio, promoted as a first person videogame. While The Phantom Pain terminates in unplayable cutscenes, The Helen Keller Simulator deploys the restriction of vision to uncannily similar effect. In contrast to this hypertrophy of cinematic spectacle and the atrophy of minimal mechanics, this talk will examine a little-known practice known as blindrunning: a method through which both blind and sighted players navigate videogame spaces without the use of vision to invent elaborate metagames according to alternate sensory economies. Following Steve Connor’s Philosophy of Sport in which “disabled sports are the only sports there are,” we will examine the way in which blindrunning holds a critical lens up to not only the games industry but software in general. By turning to these dreams of the dark, blindrunners have uncovered the blindspots of capitalism and invent ludic forms that challenge contemporary models of videogame design.
(Source: Authors' abstract at ELO 2013 site: http://conference.eliterature.org/critical-writing/blind-spots-phantom-… )
Expanded English version of "Lesningens Visjoner: Om å lese i et multimedialt miljø" published in Norwegian in Vagant 2/2011.
A discussion of the Poetry Beyond Text project, which examined reading of concrete and digital poetry from a cognitive perspective, and a 2011 exhibition in Dundee, Scotland associated with the project, which included works by John Cayley and Simon Biggs.
A discussion of the Poetry Beyond Text project, which examined reading of concrete and digital poetry from a cognitive perspective, and a 2011 exhibition in Dundee, Scotland associated with the project, which included works by John Cayley and Simon Biggs.
En diskusjon av poesi Beyond Tekst-prosjektet, som undersøkte lesing av konkret og digital poesi fra en kognitiv perspektiv, og en 2011 utstilling i Dundee, Skottlandtilknyttet prosjektet, som omfattet verker av John Cayley og Simon Biggs.
Dim O’Gauble follows the glimpsing story of an elderly woman reflecting on her grandson’s nightmarish – possibly paranormal – visions of the future. Told through a densely textured, mouse-responsive graphical environment, the work presents the user/reader with a series of transient texts, some of which change/mutate or float/disappear over time, intending to reflect the very nature of the hazy/difficult memories being uncovered. Progression through Dim O’Gauble is achieved by clicking on the various arrows visible in the graphical backgrounds, which quickly shift the viewport around the ‘canvas’ of the piece. In addition, various sub-sections of the narrative can be discovered by clicking on hotspots in the text. The final scene reveals a video sequence of a tunnel/subway with text super-imposed at different sizes over the top of it. The sketches/drawings used in the work were created by the author when he was 8 years old.
The glimpsing story of an elderly woman reflecting on her grandson’s nightmarish – possibly paranormal – visions of the future.
This work requires Flash Player 9 or higher.
Writer, coder, designer
This presentation gives an overview on the research project "Poetry Beyond Text: Vision, Text and Cognition" (2009 – 2011), funded by the U.K. Arts and Humanities Research Council, emphasizing areas of potential connection with ELMCIP, and raising issues relevant to electronic literature.