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Le mange-texte
Le Mange-Texte is a work by Jean-Marie Dutey that perfectly represents the esthetic of frustration. There are two versions of Le Mange-Texte: the original 1989 version (that was programmed and published in alire 0.1 and alire 1) and the 1994 version. When one starts to look at the black screen, squares appear, changing into the form of four letter words. The words gradually develop and the reader tries to decipher the letters in order to make sense of the unclear words (that can be read vertically, revealing the verses of the poem). The moment one tries to read the words in their proper context, the machine “eats” the text which transforms into different shapes. The color changes from blue to pink and instead of squares, one sees flowers, and the words change. Some words repeat, but the word “rose” (which can also be translated from original French into English as “pink”) appears, for example. Once again, the machine “eats” the words and the process repeats. It is difficult to read the text because the reader must try to distinguish the letters.
Scott Rettberg - 02.02.2011 - 14:53
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First Screening: Computer Poems
A suite of a dozen kinetic poems programmed in Apple BASIC. Later, as the first versions became inaccessible, the works were recreated in HyperCard in the early 1990s (after bpNichol's death), and then in 2007 recreated in javascript for the web, and simultaneously the original BASIC and Hypercard files were republished for download.
Jill Walker Rettberg - 08.02.2011 - 21:04
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Faith
Faith is a kinetic poem that reveals itself in five successive states. Each new state is overlaid onto the previous one, incorporating the old text into the new. Each new state absorbs the previous one while at the same time engaging in an argument with it. The gradual textual unfolding is choreographed to music.
(Source: Author description.)
Eric Dean Rasmussen - 10.02.2011 - 14:29
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The Mandrake Vehicles
The Mandrake Vehicles consists of three "vehicles," each one surfaced with a large text block concerning the biological development, folklore, occult ritual, magical association, and homeopathic usages of the mandrake plant. The surface text blocks can be read linearly from one to the next. However, each surface text also conceals a depth of two additional poems (as well as liquid layers, when the letters are in a transitional state). In each vehicle, both of these inner poems have technically been visible all along in the top layer, but remain undetected because of the presence of the other letters and characters. The inner poems of each vehicle are unearthed as letters drift off the surface of the poem and the remaining letters solidify into new poems. In addition to the relationships created between the contents of the three poems of each vehicle, relationships are also forged between words of the different layers that share the same letter(s). In the liquid layers, letters cast off scales of themselves which fall down the screen, colliding with other cast-off scales to form the detritus words, the trash cast off by the process.
Eric Dean Rasmussen - 21.02.2011 - 14:30
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[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
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Archives Zaroum
The project is a reworking of Cia Rinnes' print collection of visual and concrete poetry zaroum, published in 2001. It consists of 29 animated and interactive visual poems, using kinetic typography and small, simple line drawings.
Rasmus Kaas Andersen - 18.10.2011 - 13:50
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svevedikt ("poetry floating in the air")
"svevedikt" ("poetry floating in the air") consists of seven parts, each in a loop. Every poem is created out of Norwegian words, fixed in the same position all through the animation, but exposed in different degrees. Each poem starts up exposing a few letters. The number of letters is increasing until all of them are seen. Then the number of letters is reduced in a new way. The words are selected in a non-semantic way, and each viewer will experience this differently. Both the images and the sound of the letters when read are important for the experience. The positions of the words have much in common with how the poet made concrete poetry in the sixties.
(Source: Author's description)
In “svevedikt” he [Ormstad] goes further on with an animation of a poem that moves continuously and will never stay still for its reader. In her extensive catalogtext on “svevedikt” Karen Wagner presents the poem in context of Ormstads authorship. (Source: Hans Kristian Rustad, ELINOR)
David Prater - 09.11.2011 - 13:38
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Mar de Sophia
Mar de Sophia é um conjunto de poemas virtuais apresentados em formato hipermédia, nos quais o texto animado na tela é gerado automaticamente a partir do léxico da poeta Sophia de Mello Breyner Andersen, previamente estudado em termos de frequência. Esse léxico-base, que (re)constitui a obra de Sophia, e a classifica e mapeia na rede, está indexado em listas codificadas em linguagem XML, acessíveis ao leitor de vários modos, o qual as pode alterar ou adicionar novos vocábulos ou unidades de sentido. A animação do texto está ainda inscrita na componente sonora das variações combinatórias que deste processo resultam. Sempre que uma palavra se altera, o poema activa uma busca em bases de dados de som, com leituras do texto-base de que se aproveitou a sintaxe e a estrutura formal. Desse modo, o leitor pode recriar, no eixo combinatório da linguagem, um poema de Sophia, adaptando-o ao seu gosto, bem como enviar algumas das suas realizações, tanto sonoras quanto verbais, para um servidor PHP instalado num servidor da Internet. Aí, ficam arquivadas as várias versões de todos os leitores que participam na (re)leitura do poema.
Rui Torres - 25.11.2011 - 22:03
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Velo City
Velo City, de Tina Escaja es un hiperpoema del año 2000 que utiliza el hipertexto (enlaces) y los multimedia (animación Flash). Tiene como tema central la velocidad, pero no la física del espacio partido por el tiempo, sino la propia del internauta en sus viajes siderales por el ciberespacio desplazándose casi instantáneamente hacia cualquier punto del planeta.
Jill Walker Rettberg - 28.03.2012 - 10:36
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Time Train
"Timetrain" by Dorothee Lang is an ethereal experience created in Flash that uses the visuals of a train station in combination with audio and carefully crafted text to take the reader along for a ride. As images and phrases move across the screen and new juxtapositions are created, the reader is presented with opportunities for self-reflection. As the bottom of the picture moves to the right, forward, while the top of the picture moves to the left, backward suggesting spatial as well as temporal movements as trains "arrive" and "depart." The text floats in the middle as the pictures show a 360 degree view of the station.
(Source: Electronic Literature Directory entry by Joy Jeffers)
Scott Rettberg - 16.10.2012 - 15:58
