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(S)PACING
(S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.
Talan Memmott - 22.10.2012 - 00:40
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Breathing/Secret of Roe
This two-part poem examines two sides of an emotional event in the speaker’s life. The first part, “Breathing” shows sadness, even depression, perhaps over the presence and absence of a woman, shown partly in the image standing by the door on the right side of the image. A mouseover triggers a whispery spoken soundtrack, stabilizes the softly vibrating lines so they become readable, and switches from one part of the poem to the other.
If you raise the volume on your speakers to make out the whispering voice in “Breathing,” then “Secret of Roe” is going to come as a shock with its loud music and voice. This is an angry side to the poem, as the image of two men fighting on the ground in front of the same woman in “Breathing” comes to the foreground. (Note that the images are both edited from the same photograph.) Each stanza in the poem is presented as a line scheduled to display in a rapid sequence, paused by a mouseover. The voice delivers the lines in about 1 1/2 minutes, and its pauses breathe meaning into the lines even as the sequenced text reminds us that “I am not really breathing.”
Helene Helgeland - 25.10.2012 - 12:56
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Tide-Land
Originally published in BeeHive 3:4 (December 2000), this poem maps human experiences, narrative, weddings, funerals, and memory onto the ebb and flow of waters in tidelands— those coastal regions where rivers flow into the sea. The metaphorical relations between tidelands and individual and collective experience, past and present, knowledge and intuition are enacted in the use of hypertext and layers. This layering of text and image makes some lines and words difficult to read, breaking with the tradition of sequential arrangement of texts to draw attention towards new juxtapositions and the blending of human experiences. The poem also references estuaries, islands, and water during high, low, and neap tides— lunar and maritime cycles presented as a female analog to the more masculine solar solstices and equinoxes that have received such archetypal attention. This is a work worthy of rereading and reflection to allow its language and images to ebb and flow in and out of your conscious mind.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 14:25
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McLu-uhms
This poem showcases Jhave’s talent for delicately combining theory, science, and intensely personal material in a native digital multimedia poem. The subtitle for this poem is ” a confession of carnal confusion concerning an absence of cognition” which he explains is the result of encountering “The Medium is the Message” as a teenager and being sexually aroused by one of its images. He also critiques that “most humanities scholars (McLuhan included) are ignorant of the raw technical complexity of neurology and data plumbing.” Considering that Jhave has named his website Glia after an essential component of the nervous system called Neuroglia, it is clear that he knows a thing or two about the brain and its mechanisms. This poem is presented in several short stanzas along with quotes by McLuhan, neuroscientists, and computer scientists, replacing the poem and quotes piece by piece on a 4 second schedule, and looping back to the beginning when they reach the end. The videos are longer in duration and are also looped, changing the image-text juxtapositions as you reread the work.
Helene Helgeland - 29.10.2012 - 14:41
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Mondrian Mood
Inspired by and built on Piet Mondrian’s artwork, Eric LeMay writes a poem that reacts with the surface it is written upon. Different sections in the painting and color are used to structure lines of verse, in a way that represents two voices in conversation. One of the voices wants a heron in the work, while the other one is more concerned with the aesthetics of De Stijl, which don’t leave much room for natural elements, such as herons. The poem uses a restrained sense of humor to create play between meanings of words (such as “eye” and “I”), abstraction and representation, and the senses used to experience the rich textures of Mondrian’s paintings.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 15:14
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Broken
This poem is constructed around an erotic scenario between two recurring characters in Sondheim’s writing: Nikuko “a Russian ballet dancer” and Dr. Leopold Konninger. From the loading frame in this Flash piece, we are provided a point of view as if we’re the computer and are about to enter Sondheim’s imagination, and the audio doesn’t set this up as a comforting prospect. The poem seems to be designed to disturb as images of fragmented, objectified human beings gaze at one from positions of powerlessness and empowerment. Nikuko herself is portrayed as a kind of geisha dominatrix, particularly when juxtaposed with Dr. Konninger’s post-coital supine body. Subsequent images of a pile of heads and body parts and phrases like “carnage and extasy” create an unsettling mix of death and “la petit mort.”
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:39
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Nomad Lingo
From April 1, 2000 to April 1 2001, David Jhave Johnston launched his career as a digital poet with a year of poetry experiments using Flash. Titled “Nomad Lingo,” he published several e-poems every month— producing a treasure trove of works that attest to his raw talent, whimsical style, and the ability to create a lyrical voice through lines that are both sensuous and theoretically engaging.
Some aspects he experiments with is how kinetic language and pacing can evoke different meanings and shape tone. For example, the flame-like words in “Watching Fire” is so much more relaxing than the frantic “Me Critters.” Similarly, the lines in “Ceaseless,” while fast-paced, are readable and put reader’s at ease, while “Flood” overwhelms the reader with its accelerating pace and movement. He also works with minimalist interactivity in “Irreconciliable” and “Tsunami” by making the letters and lines respond to mouseovers to reveal other texts.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 15:01
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Para uma eventual conversa sobre poesia
paisagem poético-sonora a partir de samples de objetos do cotidiano alterados digitalmente com a colaboração das turmas a e b da disciplina "Design do Som I" FUMEC.
Luciana Gattass - 23.11.2012 - 17:11
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Hobo Lobo of Hamelin
This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène. (Source: Leonardo Flores, I ♥ E-Poetry) This digital broadside adapts the story and setting of the medieval Pied Piper. A mixture of European folktale, political satire, and internet snark, Stevan Živadinović’s Hobo Lobo of Hamelin is one of the first examples of digital sequential art to make use of parallax and limited animation.
Scott Rettberg - 01.12.2012 - 13:11
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MUPS
MUPS (MashUPs) is an online sonic mashup engine
built in 2012 in Flash (sorry iOS users) by Jhave
for the sheer pleasure of simultaneity.MUPS has been seeded with the following content:
PennSound MUPS
1260 audio poems
from the PennSound archives.These audio files are used with permission.
I gratefully acknowledge the generosity of Charles Bernstein
and the encouragement of Christopher Funkhouser.How does it work: MUPS can play multiple audio files (up to 32 streams) simultaneously. It can also WEAVE those files: by playing short segments of each voice until it encounters silence, then playing the next voice. MUPS offers users control over how the WEAVE occurs.
Issues: after extended use, MUPS can get confused.
Refresh your browser. Enjoy.Scott Rettberg - 01.01.2013 - 18:01
