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Euclid
This VRML piece is a meditation on Euclidean geometry, matter, mortality, eternity and language in all of these contexts. It consists of two spaces, the first of which we experience as a movie that displays four stanzas, each of which expresses Euclidean elements: solid, plane, line, point. The next space is intriguing because it has the four words above, plus two more words, all surrounding a cube made of clusters of 2-3 letters. Navigate this space when the initial movie ends, seeing the different views, and you’ll get the point of what Knoebel is trying to express with this minimalist poem in a virtual environment.
Note: To be able to read this work, you’ll need a VRML client (Recommendations: PC: Cortona 3D Viewer, Mac & Linux: OpenVRML). Be patient: you aren’t able to explore from the outset, only after you’ve seen the views. Right click on the window for a menu of options.
Source: Leonardo Flores, I ♥ E-Poetry.
Leonardo Flores - 13.03.2012 - 12:30
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For the Moon
This ode to the moon is written and visually designed to underscore the cyclical nature of the moon’s stages. Using Quicktime VR on a 245 pixel wide circular strip, the view of this work is like being inside a ring and you rotate (or does it rotate?) to see its entire surface. The lines and stanzas in this poem have been arranged on this surface, spaced and indented in relation to one another to create a primarily horizontal visual progression. On the top and bottom of the strip are the stages of the moon, the way you’d find them on a calendar, signaling the passage of time as one reads this poem. The words also signal the passage of time as the speaker discusses her relation to the moon as an oracular companion in the skies, whose stages of dress and undress, bloatedness and thinness, continue to frustrate “lifetimes” of expectation.
(Source: Leonardo Flores)
Helene Helgeland - 13.11.2012 - 18:05
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Passing Through
This multimedia hypertext work weaves together unpopulated images, ambient sounds, and the text of overheard conversations in several cities to produce an immersive experience of a journey. Best experienced in cinematic conditions (good speakers or headphones, large screen, dark room, no distractions, fullscreen browser window), this is a navigationally minimalist. Each image has an area you can click on to go to the next, and it’s not difficult to find, since it tends to be large and placed over a focal point in the photograph. The simplicity of the interface and knowing from the outset that it is a linear experience, allows readers to relax into the work and not be distracted by wondering about where to go or what decision to make. The sounds and scheduled presentation of the texts also encourage paucity and reflection on the whole sequence of images as a whole. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 01.01.2013 - 18:38
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Oppen Do Down
In the year 2000, Jim Andrews went through a significant retooling by shifting to Macromedia Director— an authoring tool that publishes content to the Web in Shockwave format, still easily accessible through its browser plugin. One of the benefits of Director was that it gave him a powerful set of tools to work with audio, allowing him to return to an early passion for radio and audio that led him to become a poet who engages media. “Oppen Do Down” is one of his sound-centered poems (what he calls “vismu”) and it is full of his voice: recorded, shaped, looped, attached to verbal objects, and presented to reader/listeners to select, combine, stack, and enjoy. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 14:58
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Mermaid
This poem is an adaptation of part three of Yeats’ poem “A Man Young and Old” that reshapes the original in a simple interface, perhaps to comment upon the piece. Upon comparison with the original Yeats poem, some of the most notable transformations are purely visual. For example, the first line appears prominently enlarged on the center of the window, and the rest of the poem is arranged as a kind of vibrating cloud that responds to the reader’s mouse movements. Depending on where the pointer is located in relation to the center of the window, the words appear upright or reversed on horizontal and vertical axes, as they vibrate under the reader’s control. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 13:11
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Dissolution
This responsive poem is structured into an 8 by 4 grid of thumbnail images. By placing the pointer over each square, the image is enlarged, presenting a line of poetry. Moving from square to square, the reader can create line combinations in multiple directions within this grid, creating new line combinations. The order in which one reads each combination can really change how one understands the text. As you read this e-poem, meditate on some of these relations between its beautifully juxtaposed elements: call and response, setup and surprise, subject and predicate, point and counterpoint, image and text, turn and volta.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 14:38
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Inanimate Alice, Episode 3: Russia
This is a work of fiction told in verse, cinematically, and with video games about the coming of age of a girl named Alice. This novel— self-consciously labelled as such to evoke the original meaning of the term: a new genre— reinvents the genre in digital media for a generation portrayed through Alice.
Even though Alice’s circumstances are atypical (living around the world with her oil industry employed father and being home-schooled by her artist mother), she is emblematic of a generation whose experience of the world is deeply interconnected with digital media. Her developing literacy includes programming her animated creation and imaginary friend Brad on a portable device that allows her to take photographs and videos, play games, search information, and symbolically be a part of her, containing some of her memory and identity. This device is the 21st century version of the journal or diary, in which an Alice from previous centuries would have developed her voice and identity through writing, drawing, painting, scrapbooking, and other multimodal forms of writing compatible with paper-based technologies. Curiouser and curiouser.
Hannelen Leirvåg - 10.02.2013 - 15:03
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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
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Nine: Puzzling through Several Lives
This poem is mapped onto a nine tile sliding puzzle, the kind that traditionally has a single image that one can scramble or unscramble. The interface for this is the same, but Lewis throws a curve ball in this piece: every time the reader moves a tile— perhaps with the hope of completing the image— the image changes. One set of images is a photograph of Lewis himself, and another is a kind of map, suggesting that if we could complete it, we’d see him or where he’s from. But identity isn’t that simple to put together, particularly in the case of someone with such a diverse ethnic background as Lewis. Keep this idea in mind as you read the text as you attempt to complete the puzzle— will you get closure from this piece by completing the puzzle or is this denied much like easy answers about identity are to Lewis? (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 15:50
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Gorgeous Oaks
This poem’s title visually suggests a decayed sign that forms a new word from its remnants “GorOak,” echoing Tom Phillips’ title for A Humument. This is a key strategy for the poem, which sends a wandering eye through a dilapidated trailer park where empty spaces and gaps are as much a part of the text as what is overtly stated. The interface is an overhead map of a trailer park, with links mapped as hotspots that a reader can click on to bring up tercets which depict vignettes and images of life in this desolate place.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:58
