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  1. Spring Day Notation

    How does one attempt to capture the experience of being out in nature, surrounded by hills, trees, flowers, grass, sky? About a century before this poem, Imagist poets took on the same challenge, using compressed language to recreate sensory experiences, usually from nature or art. William Carlos Williams’ masterful final book, Pictures from Brueghel (1962), modernized ekphrastic poetry by evoking even saccadic eye movements as one looked at a Brueghel painting in his free verse. Judy Malloy uses humble Web 1.0 tools, such as frames, font colors and sizes, background colors, and the meta refresh tag, along with tactical placement of poetic lines and precise scheduling, to insert us into a space and create a vivid landscape one image at a time.

    (Source: Leonardo Flores)

    Helene Helgeland - 12.11.2012 - 15:09

  2. Alone Engaged

    Alone Engaged is one of several works that uses Nick Montfort's code structure for Taroko Gorge. Alone Engaged was written during the fall 2011 in Atlanta, Georgia, USA.

    Maria Engberg - 13.11.2012 - 16:01

  3. Hobo Lobo of Hamelin

    This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène. (Source: Leonardo Flores, I ♥ E-Poetry) This digital broadside adapts the story and setting of the medieval Pied Piper. A mixture of European folktale, political satire, and internet snark, Stevan Živadinović’s Hobo Lobo of Hamelin is one of the first examples of digital sequential art to make use of parallax and limited animation.

    Scott Rettberg - 01.12.2012 - 13:11

  4. Formes libres flottant sur les ondes

    As a writer, I've always had a deep interest in the relations between words, and images. To me, they are the two members of an original sign which by itself was able to give things their meaning. Using the web authoring tools that makes mixing words and images easy, we can try to find this first means of representation again. But quickly this reasoning becomes invalid. We will never find this original sign again. We are, on the contrary, living in a world where words have been deprived of their power to name things by the abundance of images. This generates a misfortune that can be read in my Formes libres flottant sur les ondes.

    (Source: 2002 ELO State of the Arts gallery)

    Scott Rettberg - 15.01.2013 - 20:48

  5. <? echo [THE_SIGNIFIER] ?>

    This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.

    Hannelen Leirvåg - 02.02.2013 - 12:19

  6. 6 Weird Questions asked in a Wired Way

    This poem is divided into 6 parts, each one a 4-line stanza that asks or answers a series of questions “in a wired way,” providing the linguistic text of the poems in a way that provides a traditional counterpoint to the presentation. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 08.02.2013 - 15:24

  7. The Battery Life of Meaning: Speech to Text Poetry

    This suite of poems were created from speech to text software listening to different kinds of audio— movies, talk radio, television, and political speeches— and a poetic shaping of the output from that computer operation. This ingenious approach produces some fascinating poems which you might label as “Conceptual writing” or “Flarf poetry” (flip a coin). (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 08.02.2013 - 16:55

  8. Fallow Field

    This narrative hypertext work about the final season of an unfruitful marriage is divided into two parts, six sections, and 30 lexia to deliver the equivalent of a short story into a structure associated with poetry. The numbering of the lexias, as well as the primary interface offered to read them (depicted in the image above) which presents them sequentially numbered on a single scrolling column draws attention to each group of sentences, creating emphasis where needed. The language itself is pure prose poetry, with alliterations underscoring important moments in the poem, such as the title, taken from the emotionally and verbally resonant last sentence in the poem.

    Hannelen Leirvåg - 10.02.2013 - 14:55

  9. Realization Randomatic 2000

    The minimalist interface for this piece presents two links, one in each black square, that lead to a “Poem by Nari.” Self-described as “visual poems from the cyberstream,” these conceptual poems are inspired by the Web— its aesthetics, code, images, and texts, both intended and accidental— and reworked by Warnell to comment, highlight, and transform it into e-poetic works that are difficult to classify in any conventional genre or art form, except as net.art, which is far from traditional. Returning to this piece (or reloading the page) shows different works in the window, keeping the experience fresh while frustrating attempts at re-reading the works by providing uncertain access to them.

    (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 10.02.2013 - 20:52

  10. In the Footsteps of the Father

    This hypertext poem gives a voice to Jesus as he questions the narrative path he is in and decides not to follow in it. The central metaphorical motif in this poem— to follow in someone’s footsteps (in this case in the father)— has particularly powerful resonance when applied to Jesus and Jehovah. For Jesus to follow in his father’s footsteps is to become a god through painful self-sacrifice, but in this poem, Jesus seeks to make his own path as a human being.

    (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 10.02.2013 - 21:28

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