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Nachtkrabbel
yra van dijk - 18.02.2011 - 01:03
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Fotomo Blues
Fotomo Blues is a work of hyperpoetry and images. It's been available online since 1997 [at www.ellipsis.net/fotomo/].
It was made for fun in the pioneering days of the web - in 1997- in order to explore new narrative possibilities offered by online publication and a screen-based environment.
Fotomo Blues offers a satire on urban grunge and media-obsession. It's an interactive visual-verbal rap on a world of electrified air, digital melancholia, meet-them-in-the-flesh nostalgia, sound bites fights, soap star charisma, geek-speak freaks, feelgood factors contractors, hairsplitting graffiti, tabloid tyranny, toxic tranquillity, revved-up redundancy, sex, lies and a whole lot more.
When it first appeared it was described as "a timely zeit through the urban geist."
Eric Dean Rasmussen - 05.02.2012 - 11:08
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Reimbox
Die Reimbox ist ein Gedichtgenerator, der algorhithmisch Gedichte generieren und vorlesen kann. Die generierten Gedichte sind metrisch geordnet und gereimt. Die Reimbox wurde nicht darauf hin trainiert, sinnvolle Texte zu erstellen, vielmehr soll gezeigt werden, wie kreativ eine Maschine mit Sprache umgehen kann. Die Reimbox verführt den Zuhörer zurück in die Zeit des Dadaismus, in der versucht wurde, die künstlich auferlegten Grenzen der Sprache zu sprengen. Die Reimbox soll zudem verdeutlichen, wie sehr sich unsere Vorstellungen von Begriffen wir „Autor“, „Werk“ und „Kreativität“ durch die Anwendung und Verbreitung von algorhithmischer Literatur einem Paradigmenwechsel unterziehen werden müssen.
Klemens Bobenhausen - 09.08.2012 - 10:25
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Electric Poem
November of 1960, date of the “Electric Poem”, by Albertus Marques (1930-2005), can be considered as the pioneering time of a poetic experience with the electronic media. It is
"one electric poem, in which the energy is supplied through piles. The reader pushes a button and it appears in the center of the screen - white field - the word END. Until the moment that the person completes the action of pushing the contact, anything is revealed, or else, the possibility and the power of an action. As soon as the reader releases the button, the word disappears, therefore its emergence and permanence depend exclusively on the action of pushing the contact." (MARQUES, 1977, p. 156).
To the similarity of the future electronic poetries, and reminding the 0 and 1 of the binary system, the poem demands the reader's interaction that will produce meanings starting from the white field, button and of his/her initiative of pressing it.
(Source: Jorge Luiz Antonio, 2008: 19)
Luciana Gattass - 08.11.2012 - 17:06
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Ten Doors Closing
Ten Doors Closing
Jeneen Naji - 08.01.2013 - 15:08
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Dressage #7
Claude Maillard and Tibor Papp’s “Dressage no. 7” is glaring example of anthropophagic inflection in early digital poetry. The authors, continuing to use the same language and themes established in previous editions of Alire, cast familiar words and phrases amidst a wider span of new visual contexts. Alternating graphical pages, verbal pages, and pages that incorporate both propel the narrative. Works in Maillard and Papp’s “Dressage” series address the diminishing status of civil liberties in general, inscribing their views in a new media format that revives the aesthetics of an earlier era with new purpose.
(Source: Chris Funkhouser "Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry")
Scott Rettberg - 31.01.2013 - 19:33
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Grande Enquête
This webpage has been realised for the festival e-poetry 2007 in collaboration with Delphine Riss. During the festival, the participants were invited to vote at the following question:
Selon vous, les travaux présentés lors du festival e-poetry 2007 (performances, installations, oeuvres) sont ils des oeuvres de poésie numérique?
According to you, are the works presented at the e-poetry 2007 festival (performances, installations, piece of works) digital art works of poetry?
Participants were also invited to add precisions in creating their own buttons where their comments were written on them. Other users could then add weights to these buttons by clicking on them.
The goal of this project was to materialise the difficulty of defining what is digital art poetry and how it is received. While presenting the problem of the definition, the task was too not be closed up in only one: The different requests, potentially infinite, allowed to visualise a state of the reception of the digital poetry, skewed by our intervention.
(Source: http://cecilebucher.net/e-poetry/)
Marthin Frugaard - 11.04.2013 - 11:23
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Cidade City Cité
Versão do poema do mesmo título de Augusto de Campos (1963) utilizando cartões perfurados de computador.
Luciana Gattass - 03.07.2013 - 23:32
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Poemas no Meio do Caminho: Poesia Combinatória Animada por Computador
Poemas combinatórios e generativos, programados de modo a permitir ao leitor alterar dinamicamente, em tempo de execução, os paradigmas que alimentam a sintaxe original; Som gerado aleatoriamente a partir de bases de dados previamente gravadas, com vozes e texturas sonoras; Além de alterar o poema, o leitor pode guardar as suas versões/leituras num weblog disponível na Internet. Duas versões disponíveis (versão horizontal e versão vertical) dão aos leitores a possibilidade de navegar entre distintas tipologias de página: em modo de panorama ou em modo de página html: A versão horizontal (panorama) inclui video, permite ao leitor alterar as palavras e enviar para weblog; A versão vertical (html) permite ao leitor alterar as palavras, alterar as listas e enviar para weblog.
(Source: http://edicoes.ufp.pt/product/humanidades/poemas-no-meio-do-caminho-poes...)
Alvaro Seica - 14.10.2013 - 13:09
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Voies de fait
« Voies de fait » de Jean-Marie Dutey se sert de la sensation de déprise chez le lecteur pour exprimer un fort message politique. Le lecteur a un rôle physique et direct dans le poème. Comme dans les jeux vidéos le lecteur se déplace à travers le poème avec les flèches directionnelle sur le clavier. L’avatar qui représente le lecteur court entre ou sur les strophes, qui sont arrangées en bloques. Au début il semble que les strophes continuent jusqu’à l’infini. Il n’y a qu’une strophe en bleu—les autres sont en gris—pour donner des indices. Il y a cinq colonnes et cinq rangs de strophes. À chaque direction elles se répètent, alors si on commence à la strophe bleue et qu’on part vers la droite, on verra quatre strophes de plus et puis encore la strophe bleue avec les strophes suivantes. Voilà le texte complet (en commençant avec la strophe bleue) : VIVRE HEROS C’EST GRAND ARMEE OBEIR TIEDE IDIOT FRERE VERTE A CET QUE L‘ JE NE IBM QUE L’ ORDRE ENFER BANDE FERME ECHEC ENFIN CACHE PLUS ! L’ŒIL GAGNE C’EST CIVIL CRANE HEIGE BOIRE GRAVE CIBLE FENDU BLEUE L’AIR QUAND OTAGE PAR L’ SUR L’ QUAND TU ES D’UNE ACIER ECRAN L’EAU MORT ?
Alexandra Martin - 17.11.2014 - 03:08
