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1. V: Vniverse

   V: Vniverse is a textual instrument for exploring a sequence of poems that also appear in a double invertible book. Navigation/performance possibilities provide a micro-texture of interplay between patterns and their activation, both within the alphabetic forms and in relation to the diagrammed constellations. Programmed all in its original frame, the piece gives the illusion of words moving directly in and out of the sky. Thus all the time resources of the piece go toward responsiveness and production of language, rather than visual display. Here space is fashioned to amplify the sense of resonance that internal timings create.

   (Source: Author's description)

   Eric Dean Rasmussen - 18.02.2011 - 20:02

2. Wordscapes and Letterscapes

   Author description: Letterscapes is a collection of twenty-six interactive typographic landscapes, encompassed within a dynamic, dimensional environment. Wordscapes is a collection of reactive one-word poem landscapes, one for each letter of the alphabet.

   Eric Dean Rasmussen - 21.02.2011 - 15:06

3. 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

4. Memoirs from Hijiyama

   This exquisitely designed site contains poetry in several modes: in lines of verse, as visual poetry, and as an e-poem that responds to the reader’s symbolic presence in the text: the pointer. The site is conceptualized “as a grave” made of [web] pages, words “flung to the far corners / of the earth” (quoted from the site manifesto). Each page consists of images and words arranged and offer the reader two ways of viewing the composition: discover (which keeps links hidden for reader to explore the surface of the image for them) and unearth (which provides a sepia tone for the background and reveals the links in the text, along with useful labels for them). Verbally it is also a collage of voices: from the victims to the pilot of the Enola Gay, who delivered the bomb in Hiroshima. This work is a powerful memorial to those lost in Hiroshima (and by extension Nagasaki). Simultaneously fascinating and horrifying, factual and ironic, the work reminds us of the very human side to the event and its aftermath.

   (Source: Leonardo Flores)

   Helene Helgeland - 25.10.2012 - 12:41

5. 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

6. 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

7. The Hollow

   A visual poem created with Macromedia Flash. It pictures a self that strives with closure and isolation. The theme of the work is the relation between individual world and external environment.

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 15.01.2013 - 21:40