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The Sweet Old Etcetera
Author description: The Sweet Old Etcetera is an interactive web project based on the poetry of e.e. cummings. e.e. cummings' poetry is highly visual, playful and experimental. "The Sweet Old Etcetera" interprets selected poems for a new media context and introduces additional layers of meaning through the use of motion, graphics, sound and programming. The project hopes to offer a fresh response to the print poetry, aiming to release it from the confines of the physical page and bring it into a digital environment in a playful way.
Eric Dean Rasmussen - 22.02.2011 - 15:20
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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
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The Quick Brown Fox (a Panagram)
For this piece, Bigelow uses the most famous pangram in the English language, “The quick brown fox jumps over the lazy dog,” to structure a poetic narrative hypertext. Each letter contains a piece of a story about a relationship about to change, expressed by means of a poetic line that moves in meaningful ways over a brief looped video background. Not wishing to reveal more about the story, I will just say that Bigelow deftly maps the story onto the pangram several ways: chromatically, graphemically, allegorically, and cinematically. In the credits, he describes his role as “spun by Alan Bigelow,” an interesting choice of words in the context of his creative approach. Having read his delightful series of “Ten…” short list-essays on digital literature (positioned after the images in his site), and having read the credits to his works, I know that he uses royalty-free sounds, images, video, and occasionally language —modified as he sees fit— in the creation of his works.
Scott Rettberg - 16.10.2012 - 15:23
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JABBER: The Jabberwocky Engine
JABBER produces nonsense words that sound like English words, in the way that the portmanteau words from Lewis Carroll's Jabberwocky sound like English words.
When a letter comes into contact with another letter or group of letters, a calculation occurs to determine whether they bond according to the likelihood that they would appear contiguously in the English lexicon. Clusters of letters accumulate to form words, which results in a dynamic nonsense word sound poem floating around on the screen with each iteration of the generator.
JABBER realises a linguistic chemistry with letters as atoms and words as molecules.
(Source: Author's description at Poems That Go)
Scott Rettberg - 18.10.2012 - 10:58
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Dear e.e.
This whimsical poem invokes one of the masters of idiosyncratic poetry, E. E. Cummings. Cummings used capitalization, spacing, punctuation, letters, and words in very unconventional ways to craft off-the-beaten-path poetic experiences. The speaker’s dream taps into this idea, by having e.e. rearrange the furniture in counter-intuitive ways. A simple interface for navigation from side to side presents different items of furniture, which reveal texts and brief animations towards new images when the reader places the pointer over them. Perhaps this is a metaphor for Cummings’ poetics, who rearranged letters and words to lead to new perceptions of ordinary things.
(Source: Leonardo Flores, in I ♥ E-Poetry)
Scott Rettberg - 18.10.2012 - 13:51
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Mondrian Mood
Inspired by and built on Piet Mondrian’s artwork, Eric LeMay writes a poem that reacts with the surface it is written upon. Different sections in the painting and color are used to structure lines of verse, in a way that represents two voices in conversation. One of the voices wants a heron in the work, while the other one is more concerned with the aesthetics of De Stijl, which don’t leave much room for natural elements, such as herons. The poem uses a restrained sense of humor to create play between meanings of words (such as “eye” and “I”), abstraction and representation, and the senses used to experience the rich textures of Mondrian’s paintings.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 15:14
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Broken
This poem is constructed around an erotic scenario between two recurring characters in Sondheim’s writing: Nikuko “a Russian ballet dancer” and Dr. Leopold Konninger. From the loading frame in this Flash piece, we are provided a point of view as if we’re the computer and are about to enter Sondheim’s imagination, and the audio doesn’t set this up as a comforting prospect. The poem seems to be designed to disturb as images of fragmented, objectified human beings gaze at one from positions of powerlessness and empowerment. Nikuko herself is portrayed as a kind of geisha dominatrix, particularly when juxtaposed with Dr. Konninger’s post-coital supine body. Subsequent images of a pile of heads and body parts and phrases like “carnage and extasy” create an unsettling mix of death and “la petit mort.”
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:39
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Nomad Lingo
From April 1, 2000 to April 1 2001, David Jhave Johnston launched his career as a digital poet with a year of poetry experiments using Flash. Titled “Nomad Lingo,” he published several e-poems every month— producing a treasure trove of works that attest to his raw talent, whimsical style, and the ability to create a lyrical voice through lines that are both sensuous and theoretically engaging.
Some aspects he experiments with is how kinetic language and pacing can evoke different meanings and shape tone. For example, the flame-like words in “Watching Fire” is so much more relaxing than the frantic “Me Critters.” Similarly, the lines in “Ceaseless,” while fast-paced, are readable and put reader’s at ease, while “Flood” overwhelms the reader with its accelerating pace and movement. He also works with minimalist interactivity in “Irreconciliable” and “Tsunami” by making the letters and lines respond to mouseovers to reveal other texts.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 15:01
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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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Uncontrollable Semantics
This minimalist poem hovers right on the edge of being an art piece, because each of its 50 environments offers a different mouse-driven (aimed?) interface and music. The four words positioned on the screen’s cardinal points create a space amid them that is both conceptual and a canvas. What is the relation between words positioned in opposite spaces? How do they relate to the title to each section? How do the sound and animation relate to the words and title? Clicking on the words lead to another node in this wondrously strange hypertext… This intriguing art poem is highly entertaining, as long as you can abandon thoughts of meaning and simply enjoy playing with the piece.
(Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 01.01.2013 - 22:56
