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1. 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

2. 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

3. 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

4. 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

5. Noiselines

   This collaborative poem is composed on a “page space” created by Valdeomillos to explore the signal-to-noise-ratio by placing interface, image, and text in a relation by which they create noise for each other.

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

   Hannelen Leirvåg - 28.02.2013 - 13:54

6. untitled(to reconstruct)

   This collaborative poem places the same text Jody Zellen wrote for “Cut to the Flesh” into a page space designed by Jason Nelson (originally for “Branch/Branch” and “A Tree with Managers and Jittery Boats”). This tree structure is a fascinating way to organize lines of verse because it creates multiple possible readings as the reader opens up branches in the hierarchy.

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

   Hannelen Leirvåg - 28.02.2013 - 14:07