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1. Tide-Land

   Originally published in BeeHive 3:4 (December 2000), this poem maps human experiences, narrative, weddings, funerals, and memory onto the ebb and flow of waters in tidelands— those coastal regions where rivers flow into the sea. The metaphorical relations between tidelands and individual and collective experience, past and present, knowledge and intuition are enacted in the use of hypertext and layers. This layering of text and image makes some lines and words difficult to read, breaking with the tradition of sequential arrangement of texts to draw attention towards new juxtapositions and the blending of human experiences. The poem also references estuaries, islands, and water during high, low, and neap tides— lunar and maritime cycles presented as a female analog to the more masculine solar solstices and equinoxes that have received such archetypal attention. This is a work worthy of rereading and reflection to allow its language and images to ebb and flow in and out of your conscious mind.

   (Source: Leonardo Flores)

   Helene Helgeland - 29.10.2012 - 14:25

2. hektor

    hektor is one of the main characters in the non-aggressive narrative - a mode of Benjaminian storytelling. The NAN proposes the "continuation of a story which is just unfolding." I use digital and traditional media to create encounters between an ambiguous 'I' and potential 'You.' By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this unfolding 'past,' and its openness suggests possibility and multiplicity. In a 1965 interview with Michael Kirby, John Cage said that theatre is not done to its viewers; they do it to themselves.

   Scott Rettberg - 15.01.2013 - 21:08

3. MetaGenesis

   Organized by the Genesis narrative into 7 parts, one for each day, this work places the Biblical story of the creation of the world in conversation with modern times. Its sociopolitical tone is reinforced with references to literary characters, postmodern theorists, scientists, wars, the Internet, and civil rights leaders. Each piece contains a small Flash animation or interactive piece, some of which are clearly e-poems. These are the most delightful parts of this work because they manage to be playful without compromising the tone of the poem, a strategy echoed throughout this whole work. Thuan strikes a delicate balance between solemnity and tongue-in-cheekiness that lowers our guard so the seriousness of his piece can come through to us. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 12:33

4. Days of JavaMoon

   This hypertext work interconnects the moon with women, sexuality, Tantric texts, ancient folk medicine, and JavaScript. Yes. JavaScript. And it works because it aligns computer scripting codes with ancient algorithms: in this case, recipes and potions for psychological and sexual male enhancement. The scripting language displayed in some of the lexia is readable for those with some code literacy, and can be followed along by most, since it contains abundant natural language. Gender politics feature prominently in this work, touching on themes of sexual abuse, homosexuality, sexual enhancement, ancient recipes for gaining power over women, penis enlargement, modern ways in which women have low self-esteem, religion, and more. The audio component is in Realplayer format, a plugin that can be annoyingly commercial, but the experience is certainly enhanced by the light touches of music and sound in this piece. This piece has some random and interactive elements, and is therefore worth exploring several times to get a sense for the whole. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 12:38

5. Falling

   This visually and rhythmically enthralling piece uses a minimalist interface to create a work that resonates in its repetitions. Organized to look both as a visual piece and a code poem, it uses a simple interface to organize the language and produce multiple readings of each part. I recommend reading this poem out loud to feel the rhythm established by all the repetitions of falling in each line, starting with the page as it loads before clicking on any links. Clicking on the words in the first column trigger the display of new parts of the poem on the right hand column, parts that seem to tell stories of relationships, states of being, moods, war, and other human concerns. You may choose to read the whole thing linearly and intuit a narrative from the sequence, or you may read it texturally, occasionally including a “falling” from the central column for the sake of increasing the echoing quality of the piece and adding a layer of wordplay.

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

   Hannelen Leirvåg - 19.02.2013 - 20:19