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1. On the Life of Man

   What happens when you change a poem’s medium and context? Is it still the same poem? Ingrid Ankerson’s re-production of Raleigh’s poem suggests that it is not.

   The first difference is that the “print” version of the poem is designed to direct the reader’s full attention to the written words on the page, with sounds emerging from reading the words, whether aloud or silently. That page is a kind of musical score, designed to produce a performance of musical language in the reader. Anderson’s version transforms the poem into a kind of film (even recreating some of the scratch and dust marks we see projected on movie screens), reformatting and scheduling its lines with pauses different from the kind evoked by the poem. The images of different species of prehistoric man, however, transform this poem the most by recontextualizing its message.

   Hannelen Leirvåg - 10.02.2013 - 14:41

2. Anywhere

   This collaborative poem combines the Steve Matanle’s words and voice with Ingrid Ankerson’s music and design to produce a well integrated multimedia performance. The poem plays like a short film, requiring no interaction from the readers but commanding aural and visual attention with engaging music, a richly textured vocal performance, and visuals that enhance the experience of the poem. Some lines in the poem are punctuated by the appearance of text, brief animation sequences, and graphical information that enriches the imagery evoked in the spoken words. Timing is all in this brief poem which synchronizes its visuals with the music and rhythms of Matanle’s voice to tell a story of a forbidden love affair that is hurtling towards a destination as inevitable as the train tracks laid across the poem’s visual field.

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

   Hannelen Leirvåg - 10.02.2013 - 14:46

3. 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

4. Poem by Nari does Windows

   This hypertext poem examines language and instructions from help menus and other documentation in the Windows 98 operating system, juxtaposing it with texts and images from other sources (credited in “Windows”) as well as with original material. The formatting for the Windows texts is designed for readers to read them clearly, allowing for Microsoft’s prosaic, utilitarian voice to emerge clearly and deliver instructions for procedures that seem unnecessarily complex. The “Poem by Nari” texts (Warnell’s poetic persona) are made strange and poetic through visual formatting: primarily by eliminating spaces between words, arranging streams of texts in columns, and capitalizing by constraint rather than by convention.

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

   Hannelen Leirvåg - 10.02.2013 - 22:32

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

6. The murmur of i n t e r s t i c e s

   This is a collaboration across centuries between the 13th century Persian mystic and poet known as Rumi, whose silky lines of poetry appear beneath Zahra Safavian’s 3 by 3 grid of tiles with short looping videos and words— an interface for meditation on this poem’s idea. Rumi is credited with inventing the meditative poetic practice of “the turn” by dancing to the rhythm of the hammering of the goldsmiths. Rumi’s poems are usually organized into couplets, not necessarily rhyming, clustered into variable stanzas, and tend to establish a conversation between self and other, self and the world. Each tile can be clicked to reveal another word and video, representing perhaps some of the dualities expressed in the concept of the “turn,” though we are not dealing with binary opposites— the associations are more diverse than that. The three lines that appear after interacting with the short videos on the grid reinforce that idea, separating awareness of the head and the feet, each turning on its own, uncaring what the other does, as with a baby nursing.

   Hannelen Leirvåg - 28.02.2013 - 20:28

7. GIF-Poems

   This selection of six poems built with a type of composite image known as animated GIFs used to create the earliest animations in the Web. In Zervos’ experienced hands (see his “Dimocopo” suite), this simple technology can be very expressive indeed, as can be seen in “Divorce” a kinetic concrete poem that uses moving typography to highlight some of the finer points in a divorce process. The narrative poem seen above, “A Kidz Story,” is best experienced in action because it is a story generator designed with nine animated GIFs, one per line, each with a different time interval between lines. This allows for different combinations to emerge over time, providing the illusion of variation in what eventually becomes very formulaic and repetitive— an incisive comment on the genre it represents. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 09.03.2013 - 21:43

8. Internal Damage Data

   “Internal Damage Data” uses the structure of a multiple choice questionnaire for self assessment of internal damage to shape the first part of the poem. For each question, Mez uses option C (maybe, unsure, other…) to develop her poem, seeking to transcend the traditional yes/no binaries in such questionnaires. In the part depicted above, she uses algorithms to structure her poem: using the logic and language of programming to guide the reader’s experience of the poem. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 12.03.2013 - 23:56

9. Fleshis.tics

   Fleshis.tics gives voice to bodies enmeshed with digitality, through writing, and imagery. One strategy is by visually conveying this notion through a simple animated GIF called “fdrop,” , which imbues the word with a three dimensional fluidity and embodiment beyond the visible abstraction of traditional writing. The lines of verse belonging to each cybernetically embodied female voice are a poetic expression reminiscent of Donna Haraway’s “Cyborg Manifesto” and N. Katherine Hayles’ “How We Became Posthuman.” (Source: Leonardo Flores, I ♥ E-Poetry)

   The archived version of Fleshis.tics was sponsored by Create NSW - NSW Government.

   Hannelen Leirvåg - 13.03.2013 - 00:06

10. New York City Map

    My most extensive internet project, New York City Map, is a sort of virtual guide to the most interesting parts of New York City (at least from my point of view). But it isn't a guide in the usual sense. While "walking" through these Web pages you can, as you choose, find yourself "standing" on a particular street, you can walk or go by subway direction you want, you can meet people and even "talk to them". In contrast to traditional maps, the aim of NYCMap is not to document the layout of the city or point out its most famous tourist attractions. With the NYCMap I've tried to capture the atmosphere, the energy, or that Something which I think makes New York City so curiously different from other cities with skyscrapers. At the same time, this project is my personal diary, a document of time I spent there since 1999. [Taken from official website, http://www.bankova.cz/marketa/prace/work.html ]

    Dan Kvilhaug - 14.03.2013 - 12:40

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