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changeEverything
What is a synonym? Sometimes, we pick the wrong word. ChangeEverything is a web app based on the naive belief that every word can be replaced by one of its synonyms. Using a live connection to a remote thesaurus, ChangeEverything provides variation on a text slowly straying from the original phrase to a perfect non-sense. Click after click, the user provokes a progressive drift in meaning. The user is also invited to take part in the random selection of synonyms. When pressing the mouse longer, a list of synonyms will appear, enabling the user to pick the version he or she prefers. The app is written in HTML5/Ajax with the Jquery Library.
Serge Bouchardon - 17.06.2011 - 12:35
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Going through the Signs
This collaborative hypertext poem uses a “page space” designed by Zellen to create a sequence of pop-up windows that last 20 seconds before closing along with links that lead to new pop-up windows, simultaneously closing the previous one, and leading to a final page with three thin vertical frames. This produces a powerful sense of progression in which the reader must press on or have to start over while not providing any way to get back to an earlier page. Larsen uses this structure to build a trail of consciousness which includes the thoughts of a character seeking a path and sense of purpose in a world that seems to have the former, but not the latter. (Source: Leonardo Flores, I ♥ E-Poetry)
Deena Larsen - 20.06.2012 - 19:37
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Cantoos
This generative sequence of poems are based on a carefully scheduled sequence of changes: words fade in and out, letters fade in and out to transform words, spacing changes in words to produce different meanings or direct our attention to the etymology of words, alternate spellings, homophones, and puns replace words to subvert traditional meanings, and much more happens in this sequence of 105 poems. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 25.08.2012 - 23:13
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Hobo Lobo of Hamelin
This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène. (Source: Leonardo Flores, I ♥ E-Poetry) This digital broadside adapts the story and setting of the medieval Pied Piper. A mixture of European folktale, political satire, and internet snark, Stevan Živadinović’s Hobo Lobo of Hamelin is one of the first examples of digital sequential art to make use of parallax and limited animation.
Scott Rettberg - 01.12.2012 - 13:11
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Days of JavaMoon
This hypertext work interconnects the moon with women, sexuality, Tantric texts, ancient folk medicine, and JavaScript. Yes. JavaScript. And it works because it aligns computer scripting codes with ancient algorithms: in this case, recipes and potions for psychological and sexual male enhancement. The scripting language displayed in some of the lexia is readable for those with some code literacy, and can be followed along by most, since it contains abundant natural language. Gender politics feature prominently in this work, touching on themes of sexual abuse, homosexuality, sexual enhancement, ancient recipes for gaining power over women, penis enlargement, modern ways in which women have low self-esteem, religion, and more. The audio component is in Realplayer format, a plugin that can be annoyingly commercial, but the experience is certainly enhanced by the light touches of music and sound in this piece. This piece has some random and interactive elements, and is therefore worth exploring several times to get a sense for the whole. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 02.02.2013 - 12:38
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Moment
This is a generative poem you can visit for years and continue to find things to surprise and delight. It is structured around a text— aptly named as “a strand” (as in a fiber or rope made of letters or characters)— which is shaped by “aspects,” which are programmed structures that shape and transform the strands through color, animation, scheduling, formatting, and other transformations possible in DHTML. Considering there are 10 “strands” (plus a “user-fed strand”) each of which can be shaped by 36 different “aspects,” each of which can have multiple controls and toggles, you don’t have to do the math to realize that this is a work of staggering generative possibilities. Combined with a few randomization and combinatorial touches, this is a work that will always welcome you with fresh moments, inviting you to play with its structures. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 19:24
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Realization Randomatic 2000
The minimalist interface for this piece presents two links, one in each black square, that lead to a “Poem by Nari.” Self-described as “visual poems from the cyberstream,” these conceptual poems are inspired by the Web— its aesthetics, code, images, and texts, both intended and accidental— and reworked by Warnell to comment, highlight, and transform it into e-poetic works that are difficult to classify in any conventional genre or art form, except as net.art, which is far from traditional. Returning to this piece (or reloading the page) shows different works in the window, keeping the experience fresh while frustrating attempts at re-reading the works by providing uncertain access to them.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:52
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Shadow
This is a poem that uses language and code in textural ways. The letters are arranged in a light grey color on a white background clustered so densely that only a few words that jut out are readable. Three squares trigger a dark grey image to appear under the words, which creates more contrast for increased legibility, but it is not a true improvement. The few words one can make out are snippets of code, which might be an invitation to see what is in the source code.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 19.02.2013 - 19:29
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Lines of Life
The poem is built from one or two words at a time, sometimes appearing as plain text in a small window, usually layered over a slightly larger pop-up window with images and animation. When language appears in the image-driven windows, it does so as an image: handwritten or drawn words, or bitmapped and transformed typed words.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 19.02.2013 - 19:58
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Falling
This visually and rhythmically enthralling piece uses a minimalist interface to create a work that resonates in its repetitions. Organized to look both as a visual piece and a code poem, it uses a simple interface to organize the language and produce multiple readings of each part. I recommend reading this poem out loud to feel the rhythm established by all the repetitions of falling in each line, starting with the page as it loads before clicking on any links. Clicking on the words in the first column trigger the display of new parts of the poem on the right hand column, parts that seem to tell stories of relationships, states of being, moods, war, and other human concerns. You may choose to read the whole thing linearly and intuit a narrative from the sequence, or you may read it texturally, occasionally including a “falling” from the central column for the sake of increasing the echoing quality of the piece and adding a layer of wordplay.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 19.02.2013 - 20:19
