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1. Cut to the Flesh

   This multimedia poem was written by Jody Zellen, using a “page space” developed by Deena Larsen for this collaboration. Each of the question marks responds to a mouseover by triggering a line of verse moving diagonally across the poem’s surface along with a sound. The title’s reference to the flesh and the use of heartbeat, sonogram, and voice recordings saying things like “breathe” all reinforce a surgical conceptual framework, and metaphorically framing the diagonal language movement as cuts, slashing across the screen. The occasional variations in the sounds and word movement place the poem in conversation with some of the urban concerns which are so central to Zellen’s poetics, while the literalization of a metaphor through interface design is part of Larsen’s. (Source: Leonardo Flores, I ♥ E-Poetry)

   Deena Larsen - 20.06.2012 - 19:27

2. 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

3. 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

4. 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

5. 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