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1. Arteroids

   Author description: Arteroids is a literary shoot-em-up for the Web, a work of software art and various odd literary devices. You use the arrow keys to drive your blood-red id-entity word ‘poetry’ or ‘desire’ (or whatever word you choose) around the full screen and use the ‘x’ key to shoot blue and green texts that assail you at various velocities and densities as you play. It is the battle of poetry against itself and the forces of dullness. 

   There are at least three versions of this work: 

   • Version 2.02 was published in Turbulence in 2002
   • Version 2.03 was published in the Museum of the Essential and Beyond That in 2004, but it was produced in 2002 and includes a Portuguese translation by Regina Celia Pinto
   • Version 2.5 was published in Poems That Go in 2003

    

   Jill Walker Rettberg - 04.03.2011 - 22:08

2. When you reach Kyoto

   This collaborative work is built using Geniwate’s (Australian writer Jenny Weight’s nom d’ordinateur) “concatenation engine” and Stephans’ images and text. This “page space” is a computational upgrade to the cut-up, because in addition to randomly joining lines of verse, it cuts them further and places them in different positions of the page, creating multiple lines and readings of the same text. The gorgeous oversaturated images of urban and natural landscapes serve as a backdrop for an explosion of letters in different font sizes and lines of free verse, all of which serve as links to the next piece of the concatenation. The sound clips are nowhere nearly as pleasant as Brian Eno’s “Burning Airlines Give You So Much More,” which has a line that inspired the title of this poem, and perhaps some of its postcard-like visual design and conceptual language choices, such as the frequent use of “you,” “she,” and references to writing. (Source: Leonardo Flores, I ♥ E-Poetry)

   Jeneen Naji - 08.01.2013 - 16:20

3. 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

4. Jig-Sound

   A work that explores interactive audio.

   Hannelen Leirvåg - 02.02.2013 - 13:45

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

6. The murmur of i n t e r s t i c e s

   This is a collaboration across centuries between the 13th century Persian mystic and poet known as Rumi, whose silky lines of poetry appear beneath Zahra Safavian’s 3 by 3 grid of tiles with short looping videos and words— an interface for meditation on this poem’s idea. Rumi is credited with inventing the meditative poetic practice of “the turn” by dancing to the rhythm of the hammering of the goldsmiths. Rumi’s poems are usually organized into couplets, not necessarily rhyming, clustered into variable stanzas, and tend to establish a conversation between self and other, self and the world. Each tile can be clicked to reveal another word and video, representing perhaps some of the dualities expressed in the concept of the “turn,” though we are not dealing with binary opposites— the associations are more diverse than that. The three lines that appear after interacting with the short videos on the grid reinforce that idea, separating awareness of the head and the feet, each turning on its own, uncaring what the other does, as with a baby nursing.

   Hannelen Leirvåg - 28.02.2013 - 20:28