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1. 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

2. 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

3. 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

4. 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

5. 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

6. 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

7. Nomen Sacrum Trial

   This “psychometric trial” prompts readers to explore their sacred name through manipulation of the “lettered sieve” an infinite set of language constructed as follows:

   For the following trial, imagine the alphabet, followed by, in alphabetical order, all permutations of pairs of letters of the alphabet, followed by all permutations of triples of letters of the alphabet, followed by quadruples, and so on for quintuples, sextuples, and so on. Let us call this infinite set of letters a ‘Lettered Sieve.’ Possessing a working concept of the Lettered Sieve is essential to completing the first seven parts of the trial.

   Hannelen Leirvåg - 07.05.2013 - 13:04

8. Little Book of Prompts

   This work prompts readers to write according to a set of poetic constraints, offering original, famous, and obscure forms and examples. The interface offers a series of virtual pages floating in fixed positions in space, and allowing readers to tilt them, zoom in and out, and flip them over to read the examples on their verso. A close examination of its yellowed pages reveals barely perceptible ink marks from handwriting on the other side, but that information is missing when one flips the page.

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

   Hannelen Leirvåg - 07.05.2013 - 13:32

9. Memory

   “Memory” is an interactive digital poem composed by kinetic texts and speech sound programmed in Flash by Brazilian researchers and digital poets Alckmar Luiz dos Santos and Gilberto Prado. The poem’s interface is presented as a grid with nine cells containing nine distorted images of some printed text. When the interactor rolls the mouse over the images, a short animation loop and a voiceover soundtrack are activated playing the verse printed on each image. The verses are set following an initial order, but the interactor may organize new possibilities of reading according to his will. (Source: Luís Claudio Fajardo, I ♥ E-Poetry)

   Ian Rolon - 09.04.2014 - 21:07