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1. tantascoisasparadizer

   O poema tantascoisasparadizer é uma recodificação electrónica do poema visual com o mesmo título, aqui com supressão dos espaços que antes separavam as palavras que lhe dão o nome. A ideia era replicar em meio digital a poética interior ao texto que está na sua génese, o que considero ter sido conseguido. Isto, julgo, vem colocar em evidência o facto de o texto experimental partilhar, de certa forma, das premissas que estão na base da criação assistida por computador. No fundo, e sem ir muito longe nesta reflexão, é como se o poema visual tantas coisas para dizer fosse uma cristalização no espaço-tempo do poema electrónico tantascoisasparadizer. Mas, se virmos as coisas por outro lado, o poema visual não continha já em si uma ideia de movimento? Não estava, também ele, focado no processo? Não era já a sua natureza uma natureza performativa? Este poema foi construído com recurso ao software Processing e parti do código Text – Pulse, escrito por Bruno Richter e por ele partilhado em código aberto. Em larga medida, é a estas linhas de código que devo a existência visual e processual do meu poema.

   Alvaro Seica - 24.09.2014 - 10:30

2. Bridle Your Tongue

   Poetry, and the imagery found therein, has long been one of the foundations of literature across the globe. Our ability to decipher the imagery and symbols in poetic verse has long been a daunting and rewarding task for those individuals who enjoy reading and hearing verse. Bridle Your Tongue is an animated poem with a concentration on the power and longevity of destructive language. (Source: ELO Conference 2014)

   Thor Baukhol Madsen - 12.02.2015 - 14:08

3. mooon

   mooon (2015) is the fourth video made by Norwegian poet and artist Ottar Ormstad since 2009. Here again viewers encounter letter-carpets and a yellow y Ormstad identifies with and which he is known for. Different from the other videos, letter-carpets are not projected on still images, but for the first time on live video footage Ormstad shot on his Samsung S4 during travels in Denmark, Sweden, Norway, Iceland, Vilnius and Berlin in 2014. The video may be seen as a research for documenting water on the mooon. Like in his video natyr (2011) he's using a strong sound in the very start for creating a period of silence in the beginning of the work. Other references to his earlier works can also be found: The 'eau-poem' in the first part is closely related to his web-poem svevedikt (2006), and his first video LYMS (2009). Ormstad also continues his multi-lingual project using words from different languages intentionally without translation. It invites viewers for an individual experience of the video and visual poetry that is based upon the viewer's language background.

   Ottar Ormstad - 25.06.2015 - 12:26

4. Liberdade

   Liberdade [Freedom in Portuguese] is a collaborative digital creation that promotes a dialogue between poetry and videogame languages. Both immersive and interactive, integrating poetic language and technological forms, the work reproduces parts of Liberdade, a neighborhood in São Paulo, allowing users to metaphorically explore the concept of memory. These programmed environments can be saved by readers as personal memories. The convergence of stories (mostly microtales), animations (such as stop-motion and video fragments), poems, and a variety of sound textures, provides an experience that challenges ways of reading and writing in programmed 3D environments. Created at the Federal University of Santa Catarina, Brazil, in 2013, by Chico Marinho and Alckmar Santos, with the help of programmer Lucas Junqueira and writer Álvaro Andrade Garcia, a future version of this complex simulated experience will evolve into a multiplayer version, in which different readers/users will be able to interact with each other's memories of the reading experience.

   Hannah Ackermans - 11.09.2015 - 11:08

5. OTTARAS: 3 CONCRETE - LONG RONG SONG, NAVN NOME NAME, kakaoase

   Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad's constructed language poetry is exposed and read by the author while performing to Mashtalir's pulsating music and Vojjov's atmospheric scapes in the first two works LONG RONG SONG and NAVN NOME NAME. The first is based on Ormstad's language research project from his second book of concrete poetry from 2004. Here he creates words that may exist or not in any language, and this is related to Vojjov's creation of numbers, geometric forms and abstract shapes. The second work is made from Ormstad's collection of poetic family names used in Oslo, Norway, also here accompanied by Vojjov's world of cosmic shapes. The last track, kakaoase, is based on a printed picture by Ormstad, made of sound poetry where he's playing with the Norwegian language. Most of the words have no – or almost no – meaning, and here Mashtalir's music makes this an exceptional possibility for participating and dancing to concrete poetry!

   Hannah Ackermans - 30.11.2015 - 10:21

6. unicode infinite

   This app developed for the iOS environment is a reworking of a video work titled Unicode (2012) which “shows all displayable characters in the unicode range 0 - 65536 (49571 characters). One character per frame.” The video lasts about 33 minutes and has a sound component which he didn’t use for the app. The app adds a simple user interface which allows speeding up or slowing down the character display, shaking for random access to the characters, and an interactive function that uses the touchscreen interface and the accelerometer. This is a conceptual work which allows us to appreciate the rich palette of characters and symbols written languages from around the world offer and can be accessed when encoded in the Unicode standard.

   (Source: ELC 3)

   Alvaro Seica - 18.10.2016 - 15:43

7. White-Faced Bromeliads on 20 Hectares

   White-Faced Bromeliads on 20 Hectares is a digital poem, which includes a mixture of primarily the English language with some instances of Spanish. In this work Glazier explores alternatives to our customary experiences, through the use of a generator which changes the text of the poems every 10 seconds, turning it from it’s traditional static state to one with movement and change. Furthermore, the evocation of traveling through the images and anecdotes, provides an exploration of a multilingual and multicultural experience. Additionally, the presences of the HTML code leads to a work with multiple possibilities, primarily on how the reader perceives and experiences the work due to the possible technical reading of the code and the multiple possible poetic readings.

   Lyvette Martell - 29.11.2018 - 21:39

8. Li Po :: 8888

    

    

   in a planet earth with out humans a old chinese poet is still alive a fight vs the alien occupation and extraction of earth. Is the battle of the carbon based life in planet earth. So a ambassador from the year 8888 came to 4444 to hear the poems of Li Po. Then, the antidote to capitalism that we know thanks to Li Po poems is send to our times for sell as Rice to prevent the alien occupation. 8888 is the code that the future send with the antidote.

   Cecilie Klingenberg - 27.02.2021 - 15:52

9. Automatergon 72-1

   Computer generated poem in English by the Dutch sound poet Greta Monach (1928-2018), which was anthologised in the Richard W. Bailey's collection Computer Poems (1973).

   Siebe Bluijs - 25.03.2021 - 15:00

10. Speak, Pen

    Speak, Pen is a web-based art tool programmed in JavaScript. It’s a drawing tool that replaces the traditional paintbrush with custom text inputs. Users are free to use text on the canvas to make visual poetries, interactive drawings, and performances, etc. The work explores the materiality of text, and ways in which users experiment with texts beyond their semantic functions.

    Created during a radical tool workshop at SFPC, Speak, Pen takes inspiration from other “radical” tools that encourage DIY spirit and playfulness. It is not just a digital drawing tool, but rather, a community that aims to inspire makers to experiment with texts beyond their daily functions. It is something that can be performed, alone, or alongside others. I intend to blur the lines between users and the creators or mediators of a platform. Our community guidelines are based not on rules for how to use the text brush, but examples of how past audiences have experimented with it. The meaning of the works lies not within the interpretation of the texts in the drawings, but the different engagements with the tool within and outside its community.

    Alvaro Seica - 27.05.2021 - 15:09

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