Search
The search found 23 results in 0.011 seconds.
Search results
-
Strings
The author quotes Jim Andrews's description: "Strings is a playful series of Flash pieces about relationships. It also raises questions about the presence/absence of the hand in this medium. Visual artists often criticise the lack of presence of the hand in digital art. In Strings, the hand is and is not present, is transformed, is transforming, is writing, is written, coded. Tis morphed." (Source: Author description, ELC, vol. 1).
Eric Dean Rasmussen - 28.04.2011 - 14:40
-
While Chopping Red Peppers
Like the advice given by the speaker’s father, this kinetic and aural poem is all about “presentation and perfect arrangement.” It is about knowing where to cut visual and aural language, images and sound clips, arranging them on the poem’s space to make an impression. Yet while the speaker seems to be learning what her father has to say, one can sense the tension in her as she conforms to a vision of how one presents oneself and in what contexts. The masculinity of the images juxtaposed with the words “a firm handshake, after church” contrast with the more feminine figure we see leaning by the stove or hunched in silhouette. Listen to this poem and you’ll realize that it hovers in that space between tradition and innovation, expressive orality and through new media, conformity and rebellion, and different types of distance and proximity. (Source: Leonardo Flores, I ♥ E-Poetry)
Meri Alexandra Raita - 03.03.2012 - 19:29
-
Walkdont
Part of his “Words in Space” series, this poem uses VRML to position two dimensional words in different three dimensional rotational axes and provides a minimalist interface for the reader to switch between two types of rotation or movement, signaling the change with an audible click.
The spiraling of the words around a central axis and around each other mimic the speaker’s thought process as he obsesses over what seems to have been a traumatic incident. If we extend the idea of word rotation to its static title, we could read it as “walkdont,” as “dontwalk,” or over time as “walkdontwalkdontwalkdontwalkdont” an idea reinforced by the use of color in three key words and phrases punctuated by the blue “Who knew?”
Source: Leonardo Flores, I ♥ E-Poetry.
Leonardo Flores - 11.03.2012 - 17:57
-
Wired
This video poem presents a nightmarish image of a body that seems to be inspired by Hellraiser and The Matrix. A sitting skeletal naked body with an umbilical-like cord connected to his heart and a screen for a face, inside of which a face grotesquely screams, apparently in pain or a trance (or both) seems to be the speaker for the poem. The verbal part of the poem is delivered entirely by audio, and through electronically distorted voices. The pain in the lyric cyborg speaker for this poem raises questions about medical technologies that artificially extend human life through painful surgical procedures that insert devices like pacemakers to regulate biorhythms. Has this character become posthuman?
(Source: Leonardo Flores)
Kjetil Buer - 31.08.2012 - 10:26
-
Java Poems
This trio of early e-poems were written in HTML and use Java applets to shape their linguistic texts with a careful touch. “Infinity” and “Internet Junkie” both change the color of the text over a schedule to shape readings and to imbue them with a nervous energy. In “Infinity” (displayed above) the rarely used tag reinforces the instability of textual meaning as the phrases can be read with and without the three blinking words, “reality,” “literary,” and “Why?” In “Internet Junkie” the increased rate of color change from one stanza to the next mimics the increasing urgency of the addict’s need. The final poem in the piece uses the “NervousText” applet by Daniel Wyszynski to animate its words, “KOMNINOS is a poet,” which can be soothed into static stability with a mouse click. The spastic energy of these poems gesture towards the Post-structuralist destabilization of meaning, authorship, and the text itself. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 17:46
-
Four Poems
Published the same year as New Digital Emblems (2000), these four short kinetic poems read like subverted graphic design experiments. The bright monochromatic, textured, shaded, or divided backgrounds contained by a borderless window serve as a stage into which words move in from several directions to form and develop the poems. The electronica inspired sounds punctuate moments in each poem, such as the apparition of words or the twist at the end of “Nil,” also emphasizing the rhythm of the scheduled presentation. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 20:00
-
Diver
In this kinetic poem, the lines rise before our eyes like bubbles from a diver exploring the depths of a reservoir. The words in each line are formatted using size and position to direct the readers’ attention towards nouns, verbs, and adjectives, while de-emphasizing articles, prepositions, and conjunctions. The arrangement of each poetic or phrasal line into multiple lines clustered and spaced like stanzas makes the commas at the end of each seem vestigial, when the spatial and chronological dimensions create such a paused pace for the poem. There is something eerie about this poem, involving a tall drowned pecan tree, a bass, and man— a fellow diver, perhaps? Dive into this poem a few times and see what literal and symbolic things you discover in its depths. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 13:30
-
Winter City Sleeps
This video poem is reminiscent of Robert Frost’s “Tree at My Window” with its treatment of internal and external weather. The speaker of the poem is experiencing a metaphorical winter of the soul, exploring the idea poetically, visually, and musically (using “Hymn” by Moby). The scheduling of textual elements and their movement and duration onscreen focuses the reader’s attention on the idea expressed in each line, creating a sequence of ideas that change over time. This allows for turns, shifts, reversals, and re-imaginings, much like the layering of images used by Williams in “The Red Wheelbarrow,” but in time rather than in space. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 13:48
-
Meditation on a Bar Stool
This video poem is a meditation on breath, life, and death inspired by Buddha’s teachings, which may or may not have expired. The poem uses simple animations suggestive of the swelling of a chest as one draws breath, the thinness that comes from letting it out, and the burning of a cigarette. Aptly paced for the meditative contemplation of words, and lines, the poem begins with a quote from Buddha, emphasizing some of its language through animation and scheduling, and then presenting a response from the speaker, who sits at a bar stool, savoring some of the guilty pleasures life has to offer. As you read (and reread) this concise lyric poem, think of what it’s doing with certain binary opposites: exhale/inhale, life/death, outside/inside, and via negativa / via positiva. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 14:19
-
On the Life of Man
What happens when you change a poem’s medium and context? Is it still the same poem? Ingrid Ankerson’s re-production of Raleigh’s poem suggests that it is not.
The first difference is that the “print” version of the poem is designed to direct the reader’s full attention to the written words on the page, with sounds emerging from reading the words, whether aloud or silently. That page is a kind of musical score, designed to produce a performance of musical language in the reader. Anderson’s version transforms the poem into a kind of film (even recreating some of the scratch and dust marks we see projected on movie screens), reformatting and scheduling its lines with pauses different from the kind evoked by the poem. The images of different species of prehistoric man, however, transform this poem the most by recontextualizing its message.
Hannelen Leirvåg - 10.02.2013 - 14:41
