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1. wotclock

   wotclock is a QuickTime "speaking clock." This clock was originally developed for the TechnoPoetry Festival curated by Stephanie Strickland at the Georgia Institute of Technology in April 2002. It is based on material from What We Will, a broadband interactive drama produced by Giles Perring, Douglas Cape, myself, and others from 2001 on. The underlying concepts and algorithms are derived from a series of "speaking clocks" that I made in HyperCard from 1995 on. It should be stressed that the clock showcases Douglas Cape's superb panoramic photography for What We Will.

   (Source: Author description).

   Eric Dean Rasmussen - 26.04.2011 - 09:01

2. Shy Boy

   Shy Boy is a Flash poem that uses movement, visual images, and sound to deep into the soul and life of one very shy boy. The monochromatic use of black, gray, and white suggest a child who calls no attention to himself and the vanishing text, his own lack of presence among his schoolyard peers.

   (Source: catalog for Electronic Literature Exhibition)

   Meri Alexandra Raita - 28.01.2012 - 14:59

3. Discipline

   With this curious little poem, Ana María Uribe uses a simple modification of a row of letter H— extending the arms and legs of the letter H into ascenders and descenders (respectively)— to imbue them with life. The music and German-like orders barked at these letters make them seem like soldiers marching, exercising, and performing a drill all over the window space. There is tension between the individuality of each letter color and the sameness of each letter’s shape and motion, which that breaks down in the image above as the voice barking orders becomes increasingly frantic. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 01.02.2013 - 15:49

4. <? 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

5. Video Blog::Vog

   This interactive video poem highlights the use of collage that is so central to Web work that one of the first Web browsers was called Mosaic. This artistic technique builds a whole out of parts, much like a Web browser assembles a coherent display document out of different kinds of electronic objects, often in different locations on a network. Formats like Flash or Quicktime produce an illusion of unity by mixing together multiple elements and packaging them for export as a single proprietary file.

   Hannelen Leirvåg - 10.02.2013 - 20:19

6. How I Heard It

   This aural poem about a speaker’s perception of a bar fight is arranged on a visually minimalist interface that allows readers to experience both the chaos of the event and the calm recollection of it afterwards. Each circle (or is it the letter O?) contains two areas that respond to mouseovers. The circumference triggers the playback of a recorded line of speech that tells a piece of the story. The center triggers a loud diegetic sound that takes the narrative beyond being a language constructed event to something that feels real. You can trigger more than one sound clip simultaneously, by the way, and if you move your mouse pointer rapidly over the whole piece, you can create a truly chaotic mess of sound and information— perhaps like the experience of a bar fight.

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

   Hannelen Leirvåg - 10.02.2013 - 20:48

7. 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

8. Weave

   This hypermediated hypertext suite of poems make excessive use of background images, animated GIFs, and messily redundant code to render them deliciously unreadable and inviting. Bell weaves a dense mesh of lines, background images, and code to produce surfaces that are difficult to read at times, making us wonder if he’s aiming for felt rather than the finely stitched fabric of verse. Bell’s lines are witty and full of wordplay, non-repetitive reiterations, alliteration, and an inviting awareness of his strategies and questions. Follow the links to discover many other poems, in some of which he has the design audacity of using animated GIFs as background images.

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

   Hannelen Leirvåg - 10.02.2013 - 22:23

9. Jeffrey

   This multimedia poem is an assault on the senses— visually, kinetically, and aurally— it bombards the reader with so much information, color, sound, and stimulus that it is difficult to process, much less read. The text is handwritten and moves, spins, changes around some boxes the reader can manipulate, moving each whirling cluster to a spot in the window where it might be legible. The music, noise, and speech loop loudly but barely understandably, much like the handwritten text. Even in the menu page the typed text is so skewed that it is barely legible.

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

   Hannelen Leirvåg - 19.02.2013 - 19:49