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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
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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
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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
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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
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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
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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
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6-string Aria
This brief video poem is delicately built from just a few simple elements: a guitar aria, five handwritten letters, simple animation, and a handful of words scheduled into the presentation. The poem explores different meanings one can arrive from the elements of the word aria, such as air and area. As the letters move and rotate around a common axis, they delineate a space for different readings, as well as the implied space of a relationship in trouble. The gentle reconfiguration of the two hand-drawn “I”s into two mathematical symbols suggest a resolution to the conflict implied by the text, particularly when juxtaposed with the final clustering of the letters.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:48
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Snowblind
This collaborative poem was written for the CAVE at Brown University and is a relatively simple yet compelling argument for this kind of writing, initiated by Robert Coover in 2002. Other CAVE works reviewed in this blog have published video documentation of a performance, which is a far cry from the real deal, but considering it takes time and money to travel to Brown University to use their CAVE (and a prohibitive amount of money to build one), this will do. Soderman and Carter have gone a step further by providing access to the Cave Text Editor and the source files for readers to explore the work and run a preview of it.
Hannelen Leirvåg - 28.02.2013 - 13:23
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Birdfall
“Birdfall” deconstructs a single narrative sentence written in conventional English and slowly transforming it into mezangelle. As you scroll down the window to read each line and prose poetry paragraph, the language becomes stranger as she inserts extended passages in brackets inside of words, shifts spelling to homophones with different meanings, adds self-referential metatext that suggests links, and more. She uses animated GIFs in the background and foreground to signal to readers that there there are shifting intentions, language, and narrative— as if the ground on which this text is placed is unstable. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 03.05.2013 - 16:24
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Clone-ing God & Ange-Lz
“Clone-ing God & Ange-Lz” is graphical and scheduled in its presentation, transforming language and images in over time in ways that subvert traditional ways of portraying such figures. Short sound loops, animated images, and animated images of text with formatting and language changes enhance her mezangelle language practice with visual information, as can be seen in words like “prayah” (emphasis added 2.high[lite] the you.z of Y.t tXt in “ah”). (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 03.05.2013 - 16:37
