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1. L'Hymne à la Femme et au Hasard

   L’Hymne de la Femme et au Hazard a été publié dans le journal alire n° 7. Dans le programme, le lecteur a accès à une matrice dans un premier temps. Il a le choix d’entrer dans ces matrices en choisissant l’ordre d’apparition de trois matrices parmi les catégories suivantes : la femme, le hasard et le néant. Puis, le lecteur a accès à la lecture de la matrice. Une fois la lecture complétée, le lecteur a accès au surtexte, variation des images de la matrice en question. Le surtexte fonctionne comme un moule, moule qui est conditionné par le lecteur. Lorsque le lecteur lit le surtexte un sentiment de déprise surgit alors. En effet, celui-ci doit faire un effort non-trivial de lecture. Bootz définit d’ailleurs cette lecture comme « un travail » et « un investissement » de la part du lecteur. Ce dernier lit deux textes différents, disjoints dans le temps. Plus précisément, lorsqu’un vers apparaît, il s’efface vite pour laisser place à un autre vers. De plus, la vitesse à laquelle défilent les vers est parfois bien trop élevée pour qu’un œil humain puisse lire, déchiffrer ou mémoriser les mots.

   Johanna Montlouis-Gabriel - 07.09.2014 - 00:28

2. Les Descendants

   “The Descendants” by Alexandre Gherban is a dynamic and “active” program with an indeterminate function. It varies in transiency, sometimes being transient and other times intransient; In other words, the aspects of the program (the text, the images, and the sounds) change and move constantly in a random, or indeterminate, function. Even if the text does not have a personal perspective, the viewer plays a role by choosing his/her path in the work. The reader can interact with the processes and find the links within the images. Only then do words reveal themselves. By clicking on the words, (“the descendants”, “the parents”, “who…”, “and who…”) the work changes and the viewer can interact with the images of the new page. For the page where one sees “the parents”, one must choose one of the two images that represent the parents themselves, and this choice determines the path for what follows. This function suggests a reference to artificial life. By starting with “the parents” that produce “the descendants”, the viewer sees a type of reproduction that resembles that of a family tree. By choosing the path of one parent or the other, the user has an exploratory function.

   Claire Ezekiel - 08.09.2014 - 21:07

3. La Belle

   “La Belle” is a kinetic poem created by Philippe Bootz in 1989. Published in the review alire 2, it was later transferred into the anthology Le salon de lecture électronique in 1994. The poem itself is a brief program that is presented in several parts. That is to say, the poem seems to be cut into strophes: a preliminary strophe that introduces the poem, a sequence of lines that appear and disappear quickly in the center of the screen that make up the second part of the poem, and the third strophe that is presented just after the first and second strophes. Yet, the third strophe changes a bit after the second strophe. Only the last line of the poem, “froid jusqu’au coeur,” is seen. This means of presenting the poem complicates the comprehension of its sense and thus creates a sentiment of distance from the poem. Moreover, the rapidity of the program is accentuated by the transfer software for technological reasons. Therefore, the feeling of isolation from the poem is augmented inadvertently by the software program. Despite all that, a meaning can be drawn from the poem so long as one knows how to slow down the program to be able to soak it in.

   Jonathan Baillehache - 16.09.2014 - 05:18

4. Je veux

   "Je veux" est une sorte de collection de poème écrits en 1997/1998 et accessible sur le site internet de l'auteure qui s'intitule "Being Human" L’accès au texte est direct avec un menu où le lecteur peut choisir entre “Je veux”, “tendresse easy, easy”, “a kiss” et “more”. Dans les trois poèmes le lecteur est interpellé avec l’utilisation de “tu” ou bien “you”. La voix du narrateur ou de la narratrice se fait entendre par l’intermédiaire du “Je”, du “me” et de l’expression de son désir avec “je voudrais” etc.

   Johanna Montlouis-Gabriel - 20.09.2014 - 18:41

5. tantascoisasparadizer

   O poema tantascoisasparadizer é uma recodificação electrónica do poema visual com o mesmo título, aqui com supressão dos espaços que antes separavam as palavras que lhe dão o nome. A ideia era replicar em meio digital a poética interior ao texto que está na sua génese, o que considero ter sido conseguido. Isto, julgo, vem colocar em evidência o facto de o texto experimental partilhar, de certa forma, das premissas que estão na base da criação assistida por computador. No fundo, e sem ir muito longe nesta reflexão, é como se o poema visual tantas coisas para dizer fosse uma cristalização no espaço-tempo do poema electrónico tantascoisasparadizer. Mas, se virmos as coisas por outro lado, o poema visual não continha já em si uma ideia de movimento? Não estava, também ele, focado no processo? Não era já a sua natureza uma natureza performativa? Este poema foi construído com recurso ao software Processing e parti do código Text – Pulse, escrito por Bruno Richter e por ele partilhado em código aberto. Em larga medida, é a estas linhas de código que devo a existência visual e processual do meu poema.

   Alvaro Seica - 24.09.2014 - 10:30

6. Ink After Print

   Ink After Print is a digital literary installation exhibited in public settings such as libraries. The installation allows readers-users to perform, reenact and rewrite recombinant poems written by Peter-Clement Woetmann "and you" (user-reader). AS -- Ink After Print is an interactive, participatory, digital literary installation made in a collaboration between PIT-researchers, CAVI/Tekne Productions and Roskilde Libraries initiated during the Literature Takes Place (Litteraturen Finder Sted) project and first exhibited in 2012. Ink is designed to make people affectively engage with, and reflect on, the ergodic qualities of digital literature in public settings such as libraries and events. Through their engagement with Ink, people can – individually or collaboratively – produce poems by interacting with three books embedded with a custom-made sensor system, the DUL Radio. The interactive books let people control a floating sentence in an ocean of words toward a sheet of paper to produce a poem, all visualized on a large display. The sentences, written by Danish author Peter-Clement Woetmann, are retrieved from a database.

   Alvaro Seica - 04.12.2014 - 12:19

7. Poemfields 1-8

   Series of eight works created with computer programmer and pioneering computer artist Ken Knowlton. Each film is created using a FORTRAN-based programming language designed by Knowlton, and is a linear sequence of a few minutes combining sound, voice overs and computer-generated text and graphics. The film was output on black and white 35 mm film and then coloured postproduction.

   Source: Carolyn L. Kane, Chromatic Algorithms, University of Chicago Press, 2014, pp. 132-133.

   Jill Walker Rettberg - 29.12.2014 - 17:50

8. Quantum Collocation: Experimental Poems for Mobile Digital Devices

   Quantum Collocation is a work of experimental writing designed as an application for mobile digital devices. An interactive erasure of an excerpted page from a foundational essay by preeminent physicist Niels Bohr, Quantum Collocation applies the laws of quantum mechanics to the user’s experience of the work, allowing her to uncover a range of unique poetic possibilities within Bohr’s original text through her positioning and repositioning of the mobile device in space. The work embodies Bohr’s notion of “complementarity,” in which the way an experimental apparatus designed to measure a particle’s properties is configured is crucial to determining precisely which of those particle’s characteristics become determinate at the moment of observation. In Quantum Collocation, Bohr’s words are the particles under observation, and the mobile device is the experimental apparatus through which those observations are made possible; each of the device’s unique positions in space uncover a unique poetic possibility within Bohr’s original writing.

   Magnus Lindstrøm - 29.01.2015 - 14:54

9. Abra

   Abra is an exploration and celebration of the potentials of the book in the 21st century. A collaboration between Amaranth Borsuk, Kate Durbin, Ian Hatcher, and a potentially infinite number of readers, the project merges physical and digital media, integrating a hand-made artist's book with an iPad app to play with the notion of the “illuminated” manuscript and let readers "hold the light" of language. In the artist’s book, the poems grow and mutate as the reader turns the pages, blurring the boundary between text and illumination, marginalia and body. Animating across the surface, the poems coalesce and disperse in an ecstatic helix of words, taking turns "illuminating" one another's margins and interstices.They play with the mutation of language, both by forming new portmanteaus and conjoined phrases, and also through references to fecundity as it manifests in the natural world, the body, human history, popular culture, decorative arts, and architecture, placing the shifting evolution and continuous overlap of all these spheres in dialogue with the ever-changing technology of the book.

   Thor Baukhol Madsen - 29.01.2015 - 15:06

10. Troper/Schematorium

    Troper/Schematorium is a poem in 26 parts which was later published in the "&" section of Riddle & Bind.

    (Source: Author's Description)

    Alvaro Seica - 03.02.2015 - 14:45

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