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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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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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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
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Still Life
This ironically titled poem is inspired by Eadweard J. Muybridge’s studies in motion photography of living creatures. Muybridge experimented with different ways of capturing the motion of living beings using a variety of photographic technologies and joining individual photographs to create animated sequences. With the image rotation interface he creates for this poem, juxtaposed with the rhyming lines of verse that are displayed on a loop (a rotation in time), LeMay poem leads us to reflect on the stillness and motion, time and space, the body and its representation. The looping sounds of a heartbeat and the ticking of a clock triggered by mousing over images are a reminder that there is no such thing as stillness in life. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 14:50
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6 Weird Questions asked in a Wired Way
This poem is divided into 6 parts, each one a 4-line stanza that asks or answers a series of questions “in a wired way,” providing the linguistic text of the poems in a way that provides a traditional counterpoint to the presentation. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 15:24
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The Garden of Proserpine
This poem focuses on one stanza from Swinburne’s poem of the same name to explore its theme in more detail. Upon loading the e-poem, an image of a garden appears with the text of the 11th stanza (out of 12), but the image immediately becomes darker and muted in its colors, perhaps to reinforce the notion of how life fades. Proserpine, famous for being tricked by Hades into being his wife by eating pomegranate seeds, now plants seeds whose fruit brings death to all to consume it. Yet this is not necessarily a bad thing, as this stanza points out, since everything— even endless flowing rivers— needs that final rest. McCabe’s interface is very simple yet manages to direct our attention to each line of the poem by enlarging the lines whenever we place our mouse over them and returning them to their small original size and position when we move the pointer away. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 14:10
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Death Valley
This short poem uses a backdrop of stars flickering and occasionally shooting in the background as lines of text flow up the screen accompanied by images that emphasize some aspects of the text. This is not a romanticized cool night sky with distant stars: its imagery emphasizes the heat of blazing suns. The speaker isn’t a Romantic poet gazing longingly at the unreachable: she describes us as “dangerous” burning as hotly as the stars themselves, but with hellish desire.
The desire to touch the stars is emphasized by the textual responsiveness as each line and stanza moves from the bottom to the top of the screen. Touch the lines with the pointer, and a hissing, loud, whisper of a voice reads the lines out loud, once for each contact, perhaps a reminder of how loud the burning of stars must sound, if sound could carry across such vast, empty, distances.
If we shift our focus from the macroscopic scale of the universe to the microscopic scale of electrical impulses, are those untouchable pixels flickering on the screen equally distant?
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 14:33
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White Room
The minimalist design for this poem concentrates attention on the visual while it evokes all the senses with its language choices. There is only one input cue at the opening of the poem a white dot in the faint gray background that triggers the poem’s slowly scheduled display of language. The pace at which lines fade in and out creates a layered meditative experience and the words instruct readers to imagine a space, do things with their bodies, and become aware of how it leads to sensory experience. Pay attention to the rhythm established by the fading language and to the rhetorical and semantic pattern Knoebel creates with the poem so you can really appreciate how he breaks both patterns with a single powerfully sensuous word.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:45
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Weave
This hypermediated hypertext suite of poems make excessive use of background images, animated GIFs, and messily redundant code to render them deliciously unreadable and inviting. Bell weaves a dense mesh of lines, background images, and code to produce surfaces that are difficult to read at times, making us wonder if he’s aiming for felt rather than the finely stitched fabric of verse. Bell’s lines are witty and full of wordplay, non-repetitive reiterations, alliteration, and an inviting awareness of his strategies and questions. Follow the links to discover many other poems, in some of which he has the design audacity of using animated GIFs as background images.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 22:23
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Designer Gulch
This generative poem explores the design world— populated by artists, models, assistants, photographers, interns, corporate clients, and others shaped by their desires for fame and profit shape their dreams. Conceptualized as a ” a never-ending epic of graphic labor” this “Taroko Gorge” remix was installed at the Berliner Technische Kunsthochschule and it is the first one to respond to user input. In this case, a motion sensor camera triggers a few lines of poetry every time a person enters the building, and displays the poem on two monitors. Interestingly enough, as the very same kinds of people featured in the poem walk in they can read about their ongoing labors, elevated to Sysiphean absurdity through permutation.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.02.2013 - 11:12
