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1. slippingglimpse

   In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.

   Eric Dean Rasmussen - 31.01.2011 - 13:07

2. Amor de Clarice

   Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

   Scott Rettberg - 15.04.2011 - 12:04

3. Tao

   Tao

   Eric Dean Rasmussen - 21.04.2011 - 12:25

4. mooon

   mooon (2015) is the fourth video made by Norwegian poet and artist Ottar Ormstad since 2009. Here again viewers encounter letter-carpets and a yellow y Ormstad identifies with and which he is known for. Different from the other videos, letter-carpets are not projected on still images, but for the first time on live video footage Ormstad shot on his Samsung S4 during travels in Denmark, Sweden, Norway, Iceland, Vilnius and Berlin in 2014. The video may be seen as a research for documenting water on the mooon. Like in his video natyr (2011) he's using a strong sound in the very start for creating a period of silence in the beginning of the work. Other references to his earlier works can also be found: The 'eau-poem' in the first part is closely related to his web-poem svevedikt (2006), and his first video LYMS (2009). Ormstad also continues his multi-lingual project using words from different languages intentionally without translation. It invites viewers for an individual experience of the video and visual poetry that is based upon the viewer's language background.

   Ottar Ormstad - 25.06.2015 - 12:26