-- TIR-W Volume 9 no. 2
July 2008 Instruments and Playable Text: Stuart Moulthrop
Under Language: Stuart Moulthrop
Concerto for Narrative Data: Judy Malloy
activeReader: Elizabeth Knipe
So Random, PiTP: Shawn Rider
riverIslandQT: John Cayley
The Purpling: Nick Montfort
-- TIR-W Volume 9 no. 1
August 2007
Multi-Modal Coding: Jason Nelson, Donna Leishman, and Electronic Writing
Interviews: Jason Nelson, Donna Leishman
Biographical Background
Reception | Role of the Reader
Interface
Work Process
Electronic Literature Community
Future Work
Secrets
Space | State
Connect Digital | Material Games
Potentials of the Field
Essays:
The Artists on Each Other's Work
Talan Memmott's Commentary on Each Artist
Artworks:
Deviant
Leishman Site
Pandemic Rooms
Nelson Index
-- TIR-W, Volume 8 no. 3, September 2006
Interview with Dan Waber; Rita Raley
five by five; Dan Waber bio and Jason Pimble
TLT vs. LL; Ted Warnell
Interview with David Knoebel; Rita Raley
Heart Pole; David Knoebe
Interview with Aya Karpinska; Rita Raley
mar puro; Aya Karpinska
The Nihilanth: Immersivity in a First-Person Gaming Mod; Sandy Baldwin
New Word Order (Video);Sandy Baldwin
Word Museum;William Gillespie
Interview with John Cayley; Sandy Rita Raley
Torus (Video); John Cayley
-- TIR-W, Volume 8, no. 2, June/July 2006
Editor's Introduction: Reconfiguring Place and Space in New Media Writing;
Scott Rettberg
Workspace is Mediaspace is Cityscape: An Interview with Nick Montfort on Book and Volume; Jeremy Douglass
Written on the Body: An Interview with Shelley Jackson; Scott Rettberg
Behind Fa ade: An Interview with Andrew Stern and Michael Mateas; Brenda Bakker Harger
Avant-Gaming: An Interview with Jane McGonigal; Scott Rettberg
Book and Volume; Nick Montfort
Fa ade; Michael Mateas and Andrew Stern
-- TIR-W, Volume 8, no. 1, February/March 2006
Editor's Introduction; Ben Basan
Sound Art, Art, Music; Douglas Kahn
Speaking Volumes; Brandon Labelle
Firebirds | Firebirds Berlin | Tongues of Fire; Paul DeMarinis
A Brief Lecture on Author/ity; Alexis Bhagat
Harvester; Ed Osborn
Honi | Tacotsubo; ADACHI Tomomi
-- TIR-W, Volume 7, no. 2, November 2005
10:01; Lance Olsen & Tim Guthrie
Pieces of Herself; Juliet Davis
The Bomar Gene; Jason Nelson
News from Erewhon; Millie Niss & Martha Deed
-- TIR-W, Volume 7, no. 1, August 2005
Ask me for the moon; John Zuern
CONSCIOUSNESS, LITERATURE, AND SCIENCE FICTION; Kathleen Ann Goonan
Buyways: Billboards, Automobiles, and the American Landscape; Mike Chasar
An interview with Diana Slattery; Dene Grigar
-- TIR-W, Volume 6, 2004
New Work; Niss, Deed & Daniels
Two Reviews; Tevis Thompson and Mike Chasar
Remembering Donald Justice; Steven Cramer
An interview & new work; David Silver, Jay David Bolter and Diane Gromala
An interview with Amy Sara Carroll; Heidi Bean
-- TIR-W, Volume 5, 2003
Afterwards; Judy Malloy
Digital Nature: the Case Collection version 2.0; Tal Halpern, Patrick F. Walter
Hacktivism? I didn't know the term existed before I did it; An Interview with Brian Kim Stefans; Giselle Beiguelman
Pax & An Interview; Stuart Moulthrop and Noah Wardrip-Fruin
An Interview with Margaret Stratton; Leslie Roberts
New Work & Reviews; Heidi Bean, Seth Thompson, Deena Larsen, geniwate, Pamela Gay
An Interview with John Cayley; Brian Kim Stefans
3 Proposals for Bottle Imps; William Poundstone
Self Portrait(s) [as Other(s)] & an Interview; Talan Memmott and M.D. Coverley
New work and an interview; Joseph Tabbi and Anthony Enns
Judd Morrissey & Lori Talley: An Interview & Essay; Jessica Pressman
-- TIR-W, Volume 4, 2002
Selected new poems; Ana Marie Uribe
ORIENT; YOUNG HAE CHANG HEAVY INDUSTRIES
Dervish Flowers; Nicolas Clausse and Brian Kim Stefans
New Digital Emblems; William Poundstone and Brian Kim Stefans
"Of Dolls and Monsters" An interview with Shelley Jackson; Rita Raley
Electronic Literature; Ravi Shankar, N. Kathrine Hayles, and Lisa Gitelman
Excerps from Mark Amerika's Oz Blog; Mark Amerika
Inflat-o-space; Jessica Irish
New Media Writing; Marc C. Marino, William Gillespie, and Dirk Stratton
Remembering My Life In/Of Words; Richard Kostelanetz
An Interview, an Essay, a New Media Project; Stephanie Strickland and Jaishree Odin
Our day with Jerry Springer; David Schneidermann
A loss is less and death is not so easy
Experiemental Literature was really the first kick: An interview with Scanner; Rebekah Farrugia
Crowds and Power; Jody Zellen and Thom Swiss
"Red, Black, White and Gray:" An Interview with Motomichi Nakamura;
YOUNG HAE CHANG HEaVY INDUSTRIES Bcc, Motomichi Makamura
-- TIR-W, Volume 3, 2001
Reach; Michael Joyce
Training Missions; Joe Amato
Everything after That; Martha Conway
Winter Break; Adrienne Eisen
-][select][test: co][deP][1][oetry]_; mez
The Impermanence Agent; Noah Wardrip-Fruin, a.c.chapman, Brion Moss, Duane Whitehurst
A Long Wild Smile; Jeff Parker
-- TIR-W, Volume 1, 1999 & Volume 2, 2000
Book of Job; Ted Warnell
The Universal Resource Locator; M.D. Coverly
Lexia to Perplexia; Talan Memmott
The Birth of Detachment; Jennifer Ley
The 12hr-ISBN-JPEG Project; Brad Brace
City of Bits; Thomas Swiss
Divine Mind Fragment Theater; Jim Andrews
Pronunciation: 'fut, or: A Tool and it's Means; c. allan dinsmore
Simple Harmonic Motion Or, Josephine Baker in the Time Capsule; Diane Greco
Reality Dreams, Scroll One; Joel Weishaus
Broken; Alan Sondheim and Barry Smylie
Mitosis; Kevin Fanning
The dear mr thomas letters; Kevin Fanning
A Fable of Words; Jeffery M. Bochman
Donna Leishman |
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Jason Nelson |
Donna, what was your process for making Deviant?
As Deviant was a key part of my PhD submission, the process was very much transparent and mapped (see Chapter 2 of my thesis http://www.6amhoover.com/viva). Firstly, I came upon the narrative at a Scottish History conference where I was searching for interesting real-life sources to create a new project. The demonic possession of Christian Shaw was only mentioned in passing, but the demonizing of an 11-year-old Scottish girl, frequently painted as an evil manipulative character, was too much to pass up. I researched the differing scholarly opinions, but crucially discovered that the initial recorded written telling of the narrative was authored anonymously. These discoveries enabled me to ethically open-up, re-interpret, and re-position the various perspectives on Christian Shaw, and crucially to encourage the user to take their own stance.
Once I had mapped out the skeleton of the core events, I began to embellish with additional narrative strains, many of which focused on giving Christian a presence—I hoped that this would create an emotional resonance. After the visual aesthetic was settled and the majority of the narrative constructed, I reworked the project, both whittling down the imagery and adding layers of detail. Once I had completed the whole of the narrative, I reviewed it as a user (rather than the author), seeing which tones it was "speaking with." I often find that to create vibrant interactive experiences space must be left for spontaneous or intuitive authorial creations. That done, I tested the work online and started "writing-up" what I felt were the project's interesting points, successes, and failures. Lastly, I invited a group of expert readers/users to experience the artwork. Their feedback enabled me to further frame this artwork as research.
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Interview Questions
Essays
Launch the Artworks
Biographical Information
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Jason, what was your process for making This Is How You Will Die?
One: Found a slot machine fla file, the ready to go code of a game. Spent several weeks trying to redo, reconfigure, remake the code. Originally, I loaded it with sliced up scans of slides. My grandfather labeled a box of slides as "no good." After he died, while other family members barked over valuables, I slipped that box into my trunk. I am not a car, am not greased axles or roll up-roll down windows.
Two: The slides, all blurred and secretly ill centered, did not fit, did not play nicely with the interface. So the file, or rather ten different files, for ten different stages of adjustment were lost amongst my cluttered folders.
Three: I cannot name files properly. Cannot keep organization, a coat pocket with receipts. Many weeks or months pass before I find this file again. An accidental mopping of the floor.
Four: As a child, I did not fear death. This is not the cliché of kids feel invincible, but rather my early understanding of death as a bike spoke, if ten speeds could fly in outer space and spin out on narrow arboretum trails. Tall glass and temperature controlled. But more recently, I'm scared of dying, all middle-aged and late coming. My teeth hurt. My teeth hurt.
Five: Secrets. The twin cousin, as this is not medically possible, of the secret society, the secret cure, the secret secret, the sequence of words parading for access to unmarked crates, is isolation, the alonity (alone combined with ity, and the e falls away) of long drives through fire flies. There is a story here, back rent, and a writing desk.
Six: Deaths and secrets and slot machine codes.
From This Is How You Will Die
Seven: But then why so funny, the stories of death? If you do find them humorous.
To create this work I wrote 15 five-line stories. First: place of death (roughly). Second and Third: method of and circumstances surrounding death (less roughly). Fourth and Fifth: the happenings after death (funerals, responses, legacies). Initially I wanted them to work together grammatically. But then I remembered how scattershot, how ice storm my attention span has become. So, I simply kept to line by line, with five channels, each with 15 different possibilities.
Seven again: But why so humorous?
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© The University of Iowa, 2004-2008
All works are copyright the individual artist |
