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Faith
Faith is a kinetic poem that reveals itself in five successive states. Each new state is overlaid onto the previous one, incorporating the old text into the new. Each new state absorbs the previous one while at the same time engaging in an argument with it. The gradual textual unfolding is choreographed to music.
(Source: Author description.)
Eric Dean Rasmussen - 10.02.2011 - 14:29
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Landscapes
Landscapes presents five animated canvases which together comprise a dreamscape of anarchic play, urban order, and media saturation. Each landscape pairs a short Biblical proverb with a series of images taken from street protests, multimedia conferences, Hollywood films, and other private and public sites. The proverb in each of the landscapes scrolls on a loop across the screen and is "locked" in position behind a viewing portal. To read the proverb is to make do with the fractured characters visible through small holes in the portal.
(Source: Author description, ELC vol. 1).Eric Dean Rasmussen - 11.05.2011 - 09:16
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L0tus Bl0ss0m
The work L0tus Bl0ss0m is a tale of two people meeting in a subway. One of them, a cleaning lady, seem to suggest similar ideas as the philosopher Jacques Derrida, while the other helps her with the garbage in exchange for hearing her thoughts.
The work was published on Young-Hae Chang Heavy Industries' web page in 2002 according to the Internet Archive's Wayback Machine, and was converted to video format around or after 2018.
Meri Alexandra Raita - 30.09.2011 - 14:45
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Riviera
Set in the usual monochrome style and with a jazzy soundtrack synonymous with Young-Hae Chang Heavy Industries' work, Riviera introduces a new element: division of the screen into four horizontal spaces. In each of these spaces, text flows past—horizontally in the English version of the work, vertically in the Chinese—at different rates, each providing different views of the Hae-Oondae Sea.
The work was published on Young-Hae Chang Heavy Industries' web page in 2002, according to the Internet Archive's Wayback Machine, and converted to video form around 2018.
Meri Alexandra Raita - 02.10.2011 - 13:43
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All Fall Down
Set in the usual monochrome style of Young-Hae Chang Heavy Industries, the work All Fall Down focus on the fact that everybody will fall down eventually, saints, doctors and bums alike. The work has two seperate narrations and it is near impossible to follow both at the same time as the pace in this work is fast. The work is set to a jazzy soundstrack featuring a long drum solo set to the famous groove from Dave Brubeck's Take Five.
The work was published on Young-Hae Chang Heavy Industries' web page in 2002 according to the Internet Archive's Wayback Machine.
Meri Alexandra Raita - 02.10.2011 - 13:50
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Orient
This poem from circa 2002 contains the same linguistic text— that is, the same sequence of words— as the 2003 “Nippon” but it is a very different work.
“Orient” is set to the tune of “B. Quick” by Sonny Rollins, which makes it last slightly over 9:13. This song is a fast-paced bebop that sets an urgent, desperate, even frantic tone - making your heart race and eyes tear as you try to keep up with an aggressive reading pace. Stick with it and you’ll end up exhausted and bewildered as your brain gets taken through what reads like a stream-of-consciousness narrative about cheerful men who go to a bar and interact with desperately bored women whose job it is to make them feel at ease.
Meri Alexandra Raita - 02.10.2011 - 13:58
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Shy Boy
Shy Boy is a Flash poem that uses movement, visual images, and sound to deep into the soul and life of one very shy boy. The monochromatic use of black, gray, and white suggest a child who calls no attention to himself and the vanishing text, his own lack of presence among his schoolyard peers.
(Source: catalog for Electronic Literature Exhibition)
Meri Alexandra Raita - 28.01.2012 - 14:59
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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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Free Haiku!
This “reactive” (a.k.a. responsive or interactive) poem does an admirable job of representing the haiku in digital media, much like “Basho’s Frogger” by Neil Hennessy. Built upon a looping image of a drawing of a tree changing through the seasons, while a stick figure walks across the screen representing its shifting mood through body language. As the reader moves the pointer on the screen, different words emerge, allowing for the discovery of different phrases, depending upon one’s mouse movements. Juxtaposition of images and a connection to nature along with the speaker’s “posture” towards the material are all represented in this brief poem. The question of the title remains: is this a “free haiku” because it is offered gratis or because it has somehow been liberated from convention? Both readings are plausible, given the politics and poetics of Dada.
(Source: Leonardo Flores)
Helene Helgeland - 25.10.2012 - 13:12
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COG (I)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 19:19
