Search

The search found 3 results in 0.008 seconds.

Search results

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. Enigma n2

   In this poem, Andrews returns to the question of what is the meaning of language in digital media (as he posed in “Enigma n” 4 years earlier), this time drawing attention to the materiality of its sound rather than its visual information. When played continuously from start to finish we can hear a slightly manipulated recording of Andrews’ voice saying “meaning” three times with different tone and enunciation. The visual information in this poem is the audio waveform for the recording- an important interface to manipulate audio files in audio editing software, such as Audacity (free, open-source, cross-platform software— I recommend it). The neat thing about this poem is that it randomly selects a starting point in the waveform and a width for a selection area, automatically playing that loop a random number of times before jumping to a new random location and width (or shall I say duration?). The reader can select where to go, but not the other variables, drawing attention to words, letters, spaces between words, and even phonemes. Is there meaning in sub-phonemic pieces?

   Hannelen Leirvåg - 02.02.2013 - 13:35

3. Rude Little Song

   This aural piece is a kind of Lettrist sound poem, because it uses verbal language in sub-morphemic units (with thanks to Melissa Lucas for the term). In other words, the poem is concerned with putting together snippets of vocalized language sounds that don’t carry semantic meaning, all performed a capella, recorded, edited, and spatially arranged by Jim Andrews. The visual composition is as non-referential as the sounds, activated by moving the pointer over the pulsating colored squares. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 21:25