Search
The search found 2 results in 0.009 seconds.
Search results
-
Amor de Clarice
Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.
Scott Rettberg - 15.04.2011 - 12:04
-
The Infinite Woman
The Infinite Woman is an interactive remix and erasure poetry platform. As a feminist critique and artistic intervention, the web app remixes excerpts from Edison Marshall’s novel The Infinite Woman (1950) and Simone de Beauvoir’s philosophy book The Second Sex (1949). An n-gram algorithm procedurally generates infinitely scrolling sentences that attempt to describe and critique an eternal feminine essence. Revealing patterns through iterative permutations, this algorithmic remix of Marshall’s and Beauvoir’s language stretches the logic of “the infinite woman” to the breaking point. Meanwhile, fog slowly obscures the screen, visually performing the concept and technique of erasure. Users can select sentences from the infinitely scrolling text to send to a canvas workspace, where they can erase words and rearrange sentences to create their own poems. These user-generated erasure poems proliferate possibilities for deconstructing and reimagining gendered subjectivity.
Aurelia Griesbeck - 28.01.2023 - 15:10
