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Paper Wounds
“Paperwounds,” is an intimate look into the sometimes-surreal, often-manic realm of the suicidal and depressed. It is an intense snapshot of the numerous facets that go into the decision of taking one’s own life, each of its disparate parts aligning to form a piecemeal narrative readers may only ever really guess at in its entirety. Presented as a crumpled up piece of paper, readers “unwrap” the suicide note by clicking on the highlighted/pulsating words within its folds. Doing so exhumes other, shorter notes the writer placed within the virtual letter, each one a different illustration of–perhaps–what drove the fictional victim to this ultimate negation of self. The interface, technological sounds, and brief animations when you mouse over certain texts combined with the ruined state of the materials create a forensic tone for the work, casting the reader in the role of an investigator. The poem may be zoomed in on, zoomed out from, flipped, rotated, dimmed, and made completely invisible–though doing any of the aforementioned does not seem to change the nature of the text at first glance.
Ian Rolon - 09.04.2014 - 19:44
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Útero portanto Cosmos (Uterus therefore Cosmos)
According to its author, Agnus Valente, “Uterus therefore Cosmos” is a kind of work in progress developed during the years 2003 to 2007. In this project, several e-poems created by Valente and his twin brother, Nardo Germano, explores the expressive and conceptual potential of the World Wide Web. “Uterus therefore Cosmos” brings together in one digital environment, works by visual artists, poets and musicians from different eras. Valente proposes a dialogue between his poems authored with his brother and the work of brazilian poets and visual artists. ”Uterus therefore Cosmos” is metaphorically a project of astronomical dimensions. Conceived as a trilogy, the project presents in one website its three stages of creation: “Online Pregnancy” (2003), “Constellations” (2005) and “Expansions” (2007). A keyword to analyze this work is “hybridization”. In this context, the term refers to the ability of mixing signs, senses, media and languages and where all this mixing occurs is undoubtedly the digital medium. Based on the theoretical concepts of “intertextuality” and “Intersemiotic translation” Agnus Valente sets the DNA of his poetics. (Source: Luís Claudio Fajardo, I ♥ E-Poetry)
Ian Rolon - 09.04.2014 - 21:29
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'Roda Lume' by E. M. de Melo e Castro
Roda Lume is a 2’ 43’’ videopoem, which was broadcast by the Rádio Televisão Portuguesa (RTP) in 1969 and subsequently destroyed by the station itself, and was reenacted by Melo e Castro from the original storyboard in 1986. The work is indeed surprising, as a poem that overlaps text, kinetic text, image, moving image and sound, anticipating and influencing various genres of digital hypermedia poetry mainly launched after the birth of the World Wide Web. It constructs a different notion of space-time, opening a “visual time” (Melo e Castro 1993: 238) of unfolding images and text that comprises a new reading perception.
(Source: Author's text)
Alvaro Seica - 07.04.2015 - 17:00
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My Own Alphabet
“My Own Alphabet” is a motion poem about disorder, learning new things, forgetting details and seeing from new and different perspectives. The poetry may look jumbled to you, but the author does not see it that way. Aleatory Funkhouser is a ten year old student from the USA who is interested in experimental poetry.
Jill Walker Rettberg - 18.05.2015 - 22:51
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'Algorritmos: Infopoemas' by E. M. de Melo e Castro
Since 1986, besides videopoetry, E. M. de Melo e Castro worked on a series of experiments with other computer media (suportes informáticos), coined by the author as “infopoesia” [infopoetry], in which he used image editor software. Once more – and this is a fact the analysis by Jorge Luiz Antonio (2001) does not highlight – the prevailing choice of image editors at the expense of word processors reveals the visual affiliation of Castrian poetics. The infopoems’ visual animations acknowledge pixel as the primary unit of meaning, in the perspective of an infopoetic language.
(Source: Author's text)
Alvaro Seica - 03.09.2015 - 22:50
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'Computer Poetry' by Silvestre Pestana
In the 1980s, the world saw the introduction of personal computers (PCs). While the first creative stage of electronic literature took advantage of mainframe computers, only accessible in institutional environments, the context in which Silvestre Pestana created his first computer poems was totally different – a new wave Pedro Barbosa sarcastically calls “poesia doméstica” [domestic poetry] (1996: 147). With personal computers, Silvestre Pestana programmed in BASIC, first for a Sinclair ZX81, and then, already with chromatic lighting, for a Sinclair ZX Spectrum, three poems respectively dedicated to Henri Chopin, E. M. de Melo e Castro and Julian Beck, which resulted in the Computer Poetry (1981-83) series. Pestana, a visual artist, writer and performer – who had returned from the exile in Sweden after Portugal’s Carnation Revolution of April 25, 1974 – brought diverse influences put forward with photography, video, performance, and computer media.
Alvaro Seica - 04.09.2015 - 02:00
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MATTERS, Electromagnetic Poems
Artist’s Statement:
When materials that support texts change, the content could be affected. This installation is a physical reflection on how the materiality could affect the text.
From ceramic tiles to displays, each new supporting material has opened new possibilities for writing.
MATTERS, seeks to write through the manipulation of electromagnetic fields with new raw materials instead of the screen.
Sensitive components to these fields will be placed on three acrylic drawers (45 x 30 x 15 cm). Each drawer allows different reading times, interactions and experiences.
(Source: http://elo2016.com/jose-aburto-olezzi/)Susanne Dahl - 18.10.2016 - 17:17
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The Data Souls
The Data Souls
David Wright - 01.12.2019 - 01:52
