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The Dreamlife of Letters
A Flash animation, based on a text by Rachel Blau DuPlessis, that attempts to explore the ground between classic concrete poetry, avant-garde feminist practice, and "ambient" poetics (that's really just plain fun to watch).
(Source: Author's Description from ELC Vol. 1)
Patricia Tomaszek - 16.09.2010 - 16:54
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Soldatmarkedet
A changing and growing literary work or works published, performed and displayed between 2003 and 2007. The version referenced here was published by the Danish electronic literature journal Afsnit P. The works all explore the title word: "soldatmarkedet", which means the soldier market. Some of them simply repeat a single letter from the word over and over, in a dense form of concrete poetry almost divorced from meaning. An installation at Skulpturens Hus in Stockholm in 2005 included filing cabinets filled with printouts of 15000 unique, computer-generated permutations of 20 texts written by Aasprong.
Jill Walker Rettberg - 23.02.2011 - 21:35
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UbuWeb
UbuWeb
Scott Rettberg - 13.04.2011 - 19:30
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Project for Tachistoscope [Bottomless Pit]
My work generally references the histories of the avant-garde and popular culture. The starting point of this piece is the historical coincidence that "subliminal advertising" and "concrete poetry" were introduced as concepts at nearly the same time. The piece is, as far as I know, the first to use subliminal effects in a work of electronic literature. A fuller description/statement is incorporated in the work itself.
(Source: Author description, Electronic Literature Collection, Volume One.)
Eric Dean Rasmussen - 27.04.2011 - 14:49
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The Legible City
In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities - Manhattan, Amsterdam and Karlsruhe - the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.
Scott Rettberg - 24.05.2011 - 12:14
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The Distributed Legible City
A later version of The Legible City (1989) encompasses all the experiences offered by the original version, but introduces an important new multi-user functionality that to a large extent becomes its predominant feature. In the Distributed Legible City there are two or more bicyclists at remote locations who are simultaneously present in the virtual environment.They can meet each other (by accident or intentionally), see abstracted avatar representations of each other, and when they come close to each other they can verbally communicate with each other.
While the Distributed Legible City shows the same urban textual landscape as the original Legible City, this database now takes on a new meaning. The texts are no longer the sole focus of the user's experience, but instead becomes the con_text (both in terms of scenery and content) for the possible meetings and resulting conversations (meta_texts) between the bicyclists. In this way a rich new space of co-mingled spoken and readable texts is generated. In other words the artwork changes from being merely a visual experience, into becoming a visual ambiance for social exchange between visitors to that artwork.
Scott Rettberg - 24.05.2011 - 12:23
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Noise
Noise was made for thetextisthetext (Patriothall Gallery, Edinburgh, 2011). It is a concrete poem which offers a representation of computer noise, shown as a series of 0s and 1s randomly flipping back and forth. As the noise increases, the typefaces begin to change. Noise is a lo-fi piece, essentially a flip book animation transferred from page to computer screen: the image had to be moving in order to represent noise, and I could see no reason why a concrete poem had to be a still image. The content was gathered using Word before transferring it over to Director for the animation. Whilst referring to computer noise, this piece is not a mimetic representation. The layout was set to resemble that of a poem on a page rather than the usual images of binary code on screen which signify computer. Likewise, instead of machine-readable fonts I used Times New Roman as the main typeface. The poem on the page provided the reference point and this was to show that, like most remediations, the computer progresses partly by denying itself. (Source: author)
Gerald Smith - 02.11.2011 - 16:50
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svevedikt ("poetry floating in the air")
"svevedikt" ("poetry floating in the air") consists of seven parts, each in a loop. Every poem is created out of Norwegian words, fixed in the same position all through the animation, but exposed in different degrees. Each poem starts up exposing a few letters. The number of letters is increasing until all of them are seen. Then the number of letters is reduced in a new way. The words are selected in a non-semantic way, and each viewer will experience this differently. Both the images and the sound of the letters when read are important for the experience. The positions of the words have much in common with how the poet made concrete poetry in the sixties.
(Source: Author's description)
In “svevedikt” he [Ormstad] goes further on with an animation of a poem that moves continuously and will never stay still for its reader. In her extensive catalogtext on “svevedikt” Karen Wagner presents the poem in context of Ormstads authorship. (Source: Hans Kristian Rustad, ELINOR)
David Prater - 09.11.2011 - 13:38
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Poetry Generator
A poetry generator inspired by concrete poetry and random typography.
Meri Alexandra Raita - 20.03.2012 - 14:53
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worm applepie for doehl
While concrete poetry in print combines linguistic and graphic qualities of words, in digital media time and interaction are two additional ways of expression. Words can appear, move, disappear, and they can do this all in reaction to the perceiver’s input. [...] If a still can progress into a movie, the worm of course can eat the apple as in Johannes Auer’s digital adaptation worm applepie for doehl.
Source: Simanowski, Roberto. "Concrete Poetry in Analog and Digital Media."
Johannes Auer - 05.11.2012 - 12:58
