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1. Speaking Clock

   A HyperCard stack that generates poetry (from an existing list of terms) based on the computer's internal time.  In addition to a static text around the edges of the clock (which can cycle with clicking), a dynamically-generated text appears in the center.

   For more technical and literary information, please see Christopher Funkhouser's analysis at: arts.brunel.ac.uk/gate/entertext/5_3/ET53FunkhouserEd.doc

    

   Alexander Duryee - 22.07.2012 - 01:38

2. Leaving the City: Indra's Net V

   A HyperCard stack consisting of an interactive literary piece.  "Leaving the City" takes two works - a lecture on poetry, and a poem - and blends them via collocational algorithms.  The algorithm takes a word chosen and, based on the x-coordinates of the cursor, will randomly choose which text to move into.  By creating a branching work - the two texts flow in and out of each other based on the underlying scripts - these "collocational jumps" generate a unique text.

   Alexander Duryee - 27.07.2012 - 22:54

3. An Essay on the Golden Lion: Indra's Net IV

   "Golden Lion" is an internal-acrostic (mesostic) hologogram between the texts "Han-Shan in Indra's Net" (Fanzang) and "An Essay on the Golden Lion" (Cayley).  The algorithm at work takes each letter from "Han-Shan", finds a word from "Golden Lion" containing that letter, and displays that word.  The algorithm prefers collocation within "Golden Lion" - if possible, it will maintain series of words from "Golden Lion".

   Alexander Duryee - 03.08.2012 - 04:55

4. IO: analysis

   The poem “IO” (1995) was my first experiment with interactivity; in essence it is constructed and animated with Strata StudioPro software and integrated with Macromedia Director. The reader sets the poem off by making the spherical object move at choice in one of four directions – up, down, left, right. At a given moment a transformation takes place: there the object’s texture changes, from opaque to transparent, to show the cylindrical penetration within the sphere. This is accompanied by a sound background: the vocalization of “o” and “i”, inference to the opaque and transparent worlds respectively, and the vocalization of the diphthongs “io” and “oi” at the change from one texture to another.

   Luciana Gattass - 26.11.2012 - 22:00

5. ROMAN

   ROMAN - first collaborative hypertext in Russian. Teneta 1995 winner, nomination: "Literary Hypertext", also nominated in "Creative Environments"

   Natalia Fedorova - 27.01.2013 - 01:05

6. The Adventures of i

   This narrative “cyberpoem” started in 1995 with the goal of developing into a lengthy “soapie” about the life of i. The project obviously didn’t go on for a long time, though the 18 webisodes plus two alternate guest webisodes collected here are a testament to an ingenious exploration of the narrative potential of animated Concrete Poetry. Each piece is an ingenious animated GIF that illustrates and comments upon a moment in the early life of a character named i. The personification of the typographical character i and the transformation of other words into objects that i explores and interacts with truly exemplifies the Noigandres group’s description of Concrete Poetry as “tension of things-words in space-time.” (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 01.02.2013 - 17:41

7. Java Poems

   This trio of early e-poems were written in HTML and use Java applets to shape their linguistic texts with a careful touch. “Infinity” and “Internet Junkie” both change the color of the text over a schedule to shape readings and to imbue them with a nervous energy. In “Infinity” (displayed above) the rarely used tag reinforces the instability of textual meaning as the phrases can be read with and without the three blinking words, “reality,” “literary,” and “Why?” In “Internet Junkie” the increased rate of color change from one stanza to the next mimics the increasing urgency of the addict’s need. The final poem in the piece uses the “NervousText” applet by Daniel Wyszynski to animate its words, “KOMNINOS is a poet,” which can be soothed into static stability with a mouse click. The spastic energy of these poems gesture towards the Post-structuralist destabilization of meaning, authorship, and the text itself. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 01.02.2013 - 17:46

8. dimocopo - digital moving concrete poetry

   This suite of 28 early animated poems from 1995-1997 were created as animated GIFs but are really powered by a vibrant enthusiasm over the ability of computers to write kinetic language. In this suite, we see words morph into other words and into objects, words whose movements evoke their meanings, words used to build landscapes full of objects (a decade before WordWorld), and phrases reconfiguring and reshaping themselves into new ones— as is the case with “she left” (above). This poem is very economical with its language resources, yet so effective in describing the psychological process of a breakup in a relationship. These poems are little gems worth exploring, though the poet doesn’t necessarily make it easy for us. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 11:56

9. Hypertextual Consciousness 1.0

   Created in 1995 and developed until 1997, Hypertextual Consciousness is a work of "online critifiction", another conceptual art experiment that tackled many of the themes/issues that Amerika found prescient during the course of developing GRAMMATRON.

   Source: Author's abstract

   Patricia Tomaszek - 15.02.2013 - 14:14

10. Ipertesto Poetico Quadridimensionale

    The text provides a hypertext, free and non-sequential reading and enjoyment by the player, which should only follow these guidelines: Moving through the words in the two-dimensional plane has arisen on single page is totally free, both horizontally and vertically and also diagonally. [Taken from official website http://www.machinamniotica.altervista.org/18ipertxt00.htm ]

    Dan Kvilhaug - 20.03.2013 - 13:19

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