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1. 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

2. Tasty Gougère

   This generative poem is dedicated to the gourmand in all of us. Though perhaps it’s more interested in exorcising it through health awareness. The poem itself is a remix of “Taroko Gorge” based on eating deliciously fatty and unhealthy foods, such as the Gougère from the title, but Burgess adds two other factors: one is an LDL cholesterol counter that counts up to 160 and provides advice on seeking medical attention, and another is a marquee strip that scrolls information on high levels of triglycerides and cholesterol levels. The masterstroke in this variation is the use of the “path” function in the code, which instead of revealing a monkey or Captain Kirk, it produces the phrase “myocardial infarction.”

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 11:29

3. Biggz

   This generative poem is built from four elements: an image, a caption, lines of verse by Simon Biggs, and a JavaScript framework Glazier developed for “White-Faced Bromeliads on 20 Hectares.” The poem and its contextual information are randomly generated whenever the page is loaded, reloaded, or every 20 seconds— which makes a marked difference in how one reads and conceptualizes the poem when compared to “White-Faced Bromeliads,” which refreshes every 10 seconds. Biggs’ lines of verse are perfectly grammatical, but unconventional in its logical formulations in the tradition of Language Poetry or Gertrude Stein, which makes them stand up well to the page’s generative engine.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 14:24

4. Taroko Gary

   Another take on Taroko Gorge by Nick Montfort. Leonardo Flores uses some of Gary Snyder's words from "Endless Streams and Mountains".

   Hannelen Leirvåg - 28.02.2013 - 19:24

5. TransmoGrify

   This poem is a celebration of Nick Montfort’s “Taroko Gorge” and the more than 20 remixes made from its source code, leading to what I consider the beginning of a new born-digital poetic form. What Montfort has created with this poem generator is a way to find patterns in endless permutation of limited elements. But the poem is not in the endlessly looping textual output it produces, which is merely a temporary, ever-changing expression of an idea. The poem is in the moment a human intelligence reads that output, for however long necessary, and realizes what the poet wanted to express with those output patterns. The poem is in the pattern, teased out through the manipulation of variables and endless tweaks to the code to get this darned engine to produce something that roughly gestures towards what the poets wish to express. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 13.03.2013 - 00:22

6. Working Memory

   This minimalist scheduled poem engages our ability to hold language in memory in order to act upon it. The text is displayed on two spaces simultaneously, though the header stream begins first before the second one in the box begins to compete for our attention. Each text is displayed one word at a time at a rapid rate, faster than we have grown used to with works by Young-Hae Chang Heavy Industries or William Poundstone’s “Project for Tachitoscope.” In those cases the texts are synchronized to music, and potentially accompanied by other graphical elements, but Hatcher’s poem strips away all distractions from the text, which allows attentive readers to focus most of their consciousness on one of two textual streams, since it is virtually impossible to actually read both and make sense of them. You have to choose a track or risk having your train of thought derailed, so to speak, because of the speed at which they are displayed— 170 miliseconds per word (over 5 words per second).

   Hannelen Leirvåg - 07.05.2013 - 11:37

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