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1. What I Believe

   This poem has a very clear voice, an “I” whose beliefs are expressed throughout this work, which some readers may interpret as William Poundstone’s (or at least a persona he has created). From the outset, however, Poundstone explains that this poem was created from searches of the words “I believe” with various online engines, and that “Some texts have been recombined using a travesty algorithm.” He also provides a long list of people quoted for this poem in the page titled “Huh?” This subverts the notion of a single voice by acknowledging the multiplicity of sources and people quoted and the transformations potentially applied to the texts. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 19:35

2. 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

3. Letters Demand Things

   This suite of two responsive visual poems are inspired by typography and phonetics, and the poetics of Concretism and Lettrism. “Vowel Submission” seeks to discover letters physically discoverable by breaking off portions of vowels. The interface leads readers to probe the space of the poem searching for triggers that will break the rotating vowels into the consonants that lie within. “Typespeak” is the more interesting piece because it vocalizes the sounds of each letter without combining them into words. In other words, one can type a word, but it will play as a simultaneous set of individual sounds. He turns the computer’s keyboard into an instrument that plays verbal notes from Madsen’s vocal apparatus. The random placement of brief letter animations on the screen also resists any attempts at writing words, a very Lettrist move because it subverts attempts at creating meaning.

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

   Hannelen Leirvåg - 10.02.2013 - 15:34

4. Visual Sonnet #1

   This generative sonnet is inspired by Raymond Queneau’s Cent Mille Milliards de Poèmes but takes a highly visual approach by using images of poets, book spines, and other images. The images are cropped into strips, much like the line-pages in Queneau’s book, an ideal proportion for book spines (see a similar treatment by Jody Zellen) and the photographed eyes of iconic poets. The lines respond to mouseovers, allowing you to change the work as needed. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 13:31

5. Meditation no 4

   “Meditation no 4, by Tomasz Wilmański, an animated alphabet poem in Adobe Flash, shown as a one-off installation in a gallery space where it was projected on a screen (AT Gallery, Poznań 2004). As a tribute to Kenneth Williams and his series of concrete poems, Meditation no 4 relied not only on its visual but also aural aspect. The sound, embedded in a Flash file, played crucial role. [ Taken from Electronic Literature Publishing and Distribution in Europe, 2012 ]

   Dan Kvilhaug - 13.03.2013 - 16:49

6. Yellow Arrow

   FROM PROJECT WEBSITE:
   Yellow Arrow began in 2004 as a street art project on the Lower East Side of Manhattan. Since then, Yellow Arrow has grown to over 35 countries and 380 cities globally and become a way to experience and publish ideas and stories via text messaging on your mobile phone and interactive maps online.
   (..)
   Participants place uniquely-coded Yellow Arrow stickers to draw attention to different locations and objects - a favorite view of the city, an odd fire hydrant, the local bar. By sending an SMS from a mobile phone to the Yellow Arrow number beginning with the arrow's unique code, Yellow Arrow authors connect a story to the location where they place their sticker. Messages range from short poetic fragments to personal stories to game-like prompts to action. When another person encounters the Yellow Arrow, he or she sends its code to the Yellow Arrow number and immediately receives the message on their mobile phone. The website yellowarrow.net extends this location-based exchange, by allowing participants to annotate their arrows with photos and maps in the online gallery of Yellow Arrows placed throughout the world.

   Jill Walker Rettberg - 28.06.2013 - 14:14

7. 4 uomini

   Generative poem.

   Jill Walker Rettberg - 30.06.2013 - 13:01

8. Autorschaft und ihre automatische Generierung

   Nachdem Autorschaft erst im 18.Jahrhundert individualisiert wurde, etwa gleichzeitig mit der Möglichkeit technischer Reproduzierbarkeit durch die Druckmaschine und der Erfindung des Urheberrechts - gab es während des gesamten 20.Jahrhunderts immer wieder künstlerische Bestrebungen, individuelle Autorschaft und damit einhergehende Vorstellungen von Genialität oder Originalität zu dekonstruieren.

   Angefangen im Dada und von den Surrealisten weiterentwickelt, lässt sich eine Entwicklung beobachten, die mit dem Aufkommen digitaler Medien einen ungeahnten neuen Höhepunkt erfährt. Spiele mit Identitäten, die Verfügbarkeit einer unermesslichen Menge an Material im Internet, die verlustfreie Kopierbarkeit von Daten sowie kostenlose und anonyme Distributionsmöglichkeiten haben eine vernetzte Kultur entstehen lassen, in der einzelne Autor/-innen oftmals kaum mehr zu identifizieren sind und auch Werke sich in einem permanenten Zustand der Weiterverarbeitung und Veränderung befinden.

   Jill Walker Rettberg - 04.07.2013 - 12:18

9. Drift

   The ubiquity of GPS (global positioning satellite) and other tracking technologies suggests that "being lost" may itself be an experience that is being lost. However, simply knowing one's geographical location as expressed in longitude and latitude coordinates has little bearing on one's personal sense of place or direction. "Drift" poses the age-old question "Where am I and where am I going?" in a contemporary moment in which spatial positioning and tracking technologies provide evermore precise, yet limited, answers to this question. The installation embraces the flow of wandering, the pleasure of disorientation, and the playful unpredictability of drifting as it relates to movement and translation. Sounds blend footsteps on different surfaces with spoken word in different languages. Spoken word passages are drawn from poetry and literature dealing with the theme of wandering, being lost, and drifting. Meaning also drifts as Rousseau, Joyce, Kerouac, Mann, Dante, Woolf, and others are presented in the original and in translation.

   Scott Rettberg - 10.07.2013 - 12:37

10. A.

    A. is video reader grafted over a text generator : videos run depends on reading time of the text.

    A. is proposed as an exchange for Les Objets d'Hélène by Gwenola Wagon, who wants to transform an heritage full wtih objects into a collection of stories over each object. I exchange this text generator with an Hélène's book, La douane de mer by Jean d'Ormesson.

    A. is the last word of the fragment of the book readed by this generator. "La" is allways the begining and "A." is allways the end of the text.
    (Source: project website)

    Jill Walker Rettberg - 26.08.2013 - 10:51

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