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Oppen Do Down
In the year 2000, Jim Andrews went through a significant retooling by shifting to Macromedia Director— an authoring tool that publishes content to the Web in Shockwave format, still easily accessible through its browser plugin. One of the benefits of Director was that it gave him a powerful set of tools to work with audio, allowing him to return to an early passion for radio and audio that led him to become a poet who engages media. “Oppen Do Down” is one of his sound-centered poems (what he calls “vismu”) and it is full of his voice: recorded, shaped, looped, attached to verbal objects, and presented to reader/listeners to select, combine, stack, and enjoy. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 14:58
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The Circus
This festive suite of 10 Anipoemas extends the range of Uribe’s talent to imbue letters with character, this time inhabiting different roles in a circus. Set up as a sequence that begins and ends (just follow the links) with a grand parade, these poems turn the alphabet into jugglers, trapeze artists, equilibrium acts, clowns, animals, and more. Who else would’ve had so much fun with the idea that the only difference between a 1 and an i was a diacritical dot? (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 15:14
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Discipline
With this curious little poem, Ana María Uribe uses a simple modification of a row of letter H— extending the arms and legs of the letter H into ascenders and descenders (respectively)— to imbue them with life. The music and German-like orders barked at these letters make them seem like soldiers marching, exercising, and performing a drill all over the window space. There is tension between the individuality of each letter color and the sameness of each letter’s shape and motion, which that breaks down in the image above as the voice barking orders becomes increasingly frantic. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 15:49
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Simplicity
Using frames, pop-up windows, animated GIFs, error codes, forms, and pop up menus, this suite of 10 short e-poems written between 1998-2000 by Vietnamese poet Duc Thuan are a snapshot of the pre-2000 Web and its concerns. The interface is minimalist, evoking the title, and the works themselves are simple to operate yet their content suggests an ironic relation to the title. From the opening, Thuan establishes an aesthetic of code and malfunctioning in “Crash,” an idea explored throughout the suite in poems like “The Hidden and the Shown,” “Interact,” and “Interact.” “Imaguage of Consciousness” accompanies images of Web advertising banners along with jarringly loud music to warn us of directions we should avoid. The final poem “Diary of a Drunkard I Only Met Once” uses the simple interface of nested menus to organize a poem in way that provide multliple reading possibilities and stanzas embedded within lines, something evocative of Jim Rosenberg’s work. These are deceptively simple works, worthy of focused attention to appreciate their complexities. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 02.02.2013 - 12:44
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3 Proposals for Bottle Imps
This suite of three exquisitely paced narrative poems tell stories labelled as allegories of “Genius,” “Ambition,” and “Envy” yet structured as instructions for the design of bottle imps. <—-(This would be the place where I would normally place a link to a resource, but it is unnecessary for this work because Poundstone has put together a meticulously researched and insightful FAQ page.) In this FAQ page, he makes a case for these automata as fitting metaphors for electronic literature, because they are life-like creatures that are animated by mechanisms to produce a looping behavior on a scheduled performance. Indeed, these poems enact the metaphor very well as looping Flash animations used to deliver a narrative through tactical portioning and formatting of a prose text into lines, stanzas, and other visual organizational structures and carefully scheduled delivery of each portion. The careful attention to line structure elevates the prosaic language to poetry, and its scheduled presentation to e-poetry. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 19:33
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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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Conversation
This suite of three sound poems (or three-part poem) were inspired by Glenn Gould and his experiments with musique concrète. Nelson uses audio recordings of interviews on three topics— injuries, products, and robots— and places them on an interface that allows you to mix 8 clips at different volume levels and audio panning (sending signal to the left or right speakers). This can be used to listen to a single voice or place multiple voices in conversation, adjusting their virtual proximity (volume) and relative position in order to construct a sense of space in which people discuss a topic. Each interface is visually and thematically designed with a different background images, slider knobs, and an animated morphed image. The image above is from “Injury Analysis” and the following two are from “Product Sermon” and “Robot Party.”
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:05
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Video Blog::Vog
This interactive video poem highlights the use of collage that is so central to Web work that one of the first Web browsers was called Mosaic. This artistic technique builds a whole out of parts, much like a Web browser assembles a coherent display document out of different kinds of electronic objects, often in different locations on a network. Formats like Flash or Quicktime produce an illusion of unity by mixing together multiple elements and packaging them for export as a single proprietary file.
Hannelen Leirvåg - 10.02.2013 - 20:19
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How I Heard It
This aural poem about a speaker’s perception of a bar fight is arranged on a visually minimalist interface that allows readers to experience both the chaos of the event and the calm recollection of it afterwards. Each circle (or is it the letter O?) contains two areas that respond to mouseovers. The circumference triggers the playback of a recorded line of speech that tells a piece of the story. The center triggers a loud diegetic sound that takes the narrative beyond being a language constructed event to something that feels real. You can trigger more than one sound clip simultaneously, by the way, and if you move your mouse pointer rapidly over the whole piece, you can create a truly chaotic mess of sound and information— perhaps like the experience of a bar fight.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:48
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Four Letter Words
This combinatorial poem uses random words arranged on a grid changing in seemingly random at different time intervals. The word in the center of the grid distinguishes itself, not only by position, but by its slight overlap with the word that is to replace it. This film technique known as a dissolve adds a layer of depth to the transition by having a 10th word juxtaposed (superposed, really) and by visually representing the time-based mechanism in the poem. The title plays with a double meaning: words that are culturally considered obscene or insulting, and with a constraint of using words with only four letters (see this Scrabble dictionary). Knoebel seems to be foregrounding the latter, thought initially the title points towards the former meaning.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 22:29
