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1. The Click Poems

   These are among David Knoebel's earliest e-poems, going back to 1997, but they're important because their conceptual compression and technical simplicity set the tone for Knoebel's subsequent poetry. Inspired by the haiku, they consist of three words or short phrases: a first line (which serves as a title) linking to the second line (which loads as an HTML page) and a third line which plays as an audio recording as soon as the sound file loads-- which is almost simultaneously.

   These crisp little poems are built out of layering in virtual and computational space and time. As you read them, notice how just as your brain is making the conceptual connection between the first two lines it gets hit by the third, transforming your thought process. Between the three, Knoebel maps out little experiences that resonate with humor, wit, curiosity, and delight. The relationship between the lines vary as well: completing phrases, commenting on the previous pair of lines, or making a connection to nature (in good haiku tradition).

   Leonardo Flores - 13.03.2012 - 11:54

2. <? echo [THE_SIGNIFIER] ?>

   This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.

   Hannelen Leirvåg - 02.02.2013 - 12:19

3. The Battery Life of Meaning: Speech to Text Poetry

   This suite of poems were created from speech to text software listening to different kinds of audio— movies, talk radio, television, and political speeches— and a poetic shaping of the output from that computer operation. This ingenious approach produces some fascinating poems which you might label as “Conceptual writing” or “Flarf poetry” (flip a coin). (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 16:55

4. In the Footsteps of the Father

   This hypertext poem gives a voice to Jesus as he questions the narrative path he is in and decides not to follow in it. The central metaphorical motif in this poem— to follow in someone’s footsteps (in this case in the father)— has particularly powerful resonance when applied to Jesus and Jehovah. For Jesus to follow in his father’s footsteps is to become a god through painful self-sacrifice, but in this poem, Jesus seeks to make his own path as a human being.

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

   Hannelen Leirvåg - 10.02.2013 - 21:28

5. Aufschreibesysteme Green ghost echo

   This piece is one of those rare examples of e-poems that exhibits the same textual behaviors as a print text— purely static— yet is created through such a creative engagement with the medium that it merits consideration as e-literature. Its visual design is evocative of both programming conventions (particularly the practice of numbering lines of code) and of green monochrome monitors. The numbering of its lines and stanzas, with two notable exceptions, obey a simple formal logic yet add programming texture and structure to the poem. The cluster of 10 lines beginning with “x01,” each of which is divided into four columns breaks the numbering pattern, simultaneously offering a visual structure that could be read as lines or columns. This is framed by two identically numbered 2-line stanzas (010801 & 010802) which contain different texts but are formatted on left and right hand margins of the window.

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

   Hannelen Leirvåg - 10.02.2013 - 21:41

6. Weave

   This hypermediated hypertext suite of poems make excessive use of background images, animated GIFs, and messily redundant code to render them deliciously unreadable and inviting. Bell weaves a dense mesh of lines, background images, and code to produce surfaces that are difficult to read at times, making us wonder if he’s aiming for felt rather than the finely stitched fabric of verse. Bell’s lines are witty and full of wordplay, non-repetitive reiterations, alliteration, and an inviting awareness of his strategies and questions. Follow the links to discover many other poems, in some of which he has the design audacity of using animated GIFs as background images.

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

   Hannelen Leirvåg - 10.02.2013 - 22:23

7. Random Paths

   This hypertext poem is structured linearly, yet it offers a couple of forks in the road which can sometimes lead to endless delay. Based on a holiday in Rome, the speaker’s sends her wandering eye and inquisitive mind through the city combining text and thematically related images in each node. The first node triggers a popup window titled “Rome_index” which provides a 6 x 5 grid of thumbnail images that respond to mouseovers, bringing up new images of Rome. This sensitive surface allows readers to perform a psychogeographic exploration of Rome as perceived by the speaker’s photographic eye. The circular linearity of the poem allows you to experience it multiple times, each time observing new snippets of this ancient city to juxtapose with the poem’s lyric voice. Note: This poem is best read in Internet Explorer because it uses older JavaScript codes to create pop-up windows in a way that other contemporary browsers have difficulty understanding. You will need to enable pop up windows in your browser to allow all pop ups from the site. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 19.02.2013 - 19:12

8. Web Warp & Weft

   Web Warp & Weft was created with the support of East Midlands Arts and the backing of the trAce Online Writing Centre at Nottingham Trent University.

   This project aimed to explore the ways in which women and men have woven their own stories with yarn and thread, with rugs and quilts and textiles. The website was designed to thread the ideas together and work the threads [stories] into a hypertext with pictures, sound and animation, to create a bigger picture, an overall story.

   The project was based in Nottingham, which has a particularly notable history of textile creation, including frame-knitting, lacemaking, and more contemporary manufacturing processes.

   Hannelen Leirvåg - 19.02.2013 - 20:03

9. The Mall as a Machine for Living

   This delightfully subversive hypertext poem is designed much like the mall it critiques. The reader browses from node to node in a linear or meandering way much like a shopper enters a mall or department store space and walks from store to store, discovering a variety of texts that hold together very nicely. The texts are sometimes about architecture, malls, cathedrals, and the Mall of America. One of the largest in the world, this giant mall in Minnesota is the focal point for a series of conceptual blends that lead the poem deep into absurdity. This is a piece that unfolds in the reader’s head as the seemingly factual information presented start to strain verosimilitude in a very semantic appropriation of prosaic language.

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

   Hannelen Leirvåg - 19.02.2013 - 20:31

10. 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

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