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1. LYMS

   In the video lyms (which is a non-semantic word), I have solved the question of translation in a special way: words in different languages like spanish, french, german, english and scandinavian are put together.  None of them have the same meaning, the viewer may just taste on the words.  In the first part of the video all the words are starting with f.  In the beginning the f's are exposed in a way they constitute different pictures. The system of the expositions are based on how I made concrete poetry in the sixties. Instead of repeating them differently line by line, the new technology allows me to expose them differently through time.  Then more and more letters are shown, until all the words are exposed.

   Each viewer will have a different experience dependent upon their language background, and the ability to enjoy the poetic combination of the words and the visuality together with the music.  

   Patricia Tomaszek - 12.01.2011 - 18:22

2. Gentleman Fight Night

   Een blik in het brein van de dichter. Abjecte insecten en andere onderkruipers betreden de ruwe, duistere bolster van de blanke pit. Daar staat de ring klaar voor de 'Gentleman Fight Night'. Laat het gevecht beginnen! Compleet met gruwelijke, in bloed gedrenkte finale.

   David Prater - 10.11.2011 - 14:23

3. Correspondences

   Correspondences is a translation into sound and image of the timbre of Charles Baudelaire's "Correspondances." The work is not a reading, per se, but it follows the structure of Baudelaire's sonnet closely, pivoting around the white space of the dash in the first tercet. In this experimental video + computer music work the gesture of Baudelaire's poetry serves as a scaffolding for an exploration of mutable time and memory. Correspondences is an invocation to the memory of something read, half-remembered perhaps, connected through a dream logic.

   Stig Andreassen - 20.03.2012 - 14:46

4. Poëzie loont (Poetry pays off)

   Onder dat credo ontwikkelden dichter Arnoud van Adrichem en grafisch ontwerpers Cox & Grusenmeyer de mobiele browser 'Geld', waarmee hardwerkende belastingbetalers hun belastingcenten kunnen terugverdienen door gedichten te lezen. Hoe werkt het? Alle banken in Amsterdam zijn voorzien van duidelijk herkenbare stickers die kunnen worden gescand met een smartphone of tablet. De gedichten die dan zichtbaar worden leveren elk 0,11 euro op; een bedrag dat ongeveer overeenkomt met het belastinggeld dat iemand met een gemiddeld jaarkomen dagelijks kwijt is aan cultuur. 'Money is a kind of poetry', stelde Wallace Stevens ooit. Deze applicatie bewijst eens te meer zijn gelijk.

   (Source: www.poezieloont.nl)

   Marije Koens - 25.07.2012 - 10:49

5. Welkom Vreemdeling (Welcome Stranger)

   Welcome stranger is ontworpen voor wachtruimtes en bestaat uit een animatie van dansende letters die steeds nieuwe verbanden vormen. Het geheel is gebaseerd op de uiteenlopende namen waarmee het spel ‘stoelendans’ in verschillende talen wordt aangeduid. Het werk kwam tot stand in het kader van het project Poëzie op het scherm, dat eens in de twee jaar gezamenlijk door het Nederlands Letterenfonds en het Mondriaan Fonds (voorheen Fonds BKVB) is georganiseerd.

   Marije Koens - 25.07.2012 - 11:19

6. Skogen

   Skogen

   Scott Rettberg - 03.11.2012 - 17:50

7. PROTOMIR

   НЕЙРОАТАКА АНИМА МАГНИТ АЛГОРИТМА АТМА ЭМБРИОХАЙТЕК ПРОТОРОБОТЕК Тайна вселенной зашифрована в звуки и образы, в магическую книгу-мистерию о загадках творения и вселенной. ПРОТОТОРОИД. Электронная каббала корнесловий, саунд дизайна и видеоряда. Ее чтение/слушание/созерцание требует восприятия ряда уровней звуков, смыслов и образов. Тайны взаимоотношений между вещами в природе, между планетами в небесных сферах, между людьми и демонами внутри и снаружи них сложены в ритмы внелинейного изначалья заузорья, которые необходимо дешифровать. Оптика ПРОТОТОРОИДА с помощью малой вселенной себя позволяет рассматривать большую вселенную галактики. ЗА СПЕКТРАМИ ИЗ КРАСНЫХ ОБЛАКОВ ВСЯ ГОРЕЧЬ ПРЕВРАТИЛАСЬ В СЛАДОСТЬ Всякое искусство стремится быть музыкой, всякая мысль стремиться стать энергией. Древний символ - змея, которая кусает себя за хвост – представляет собой замкнутый круг, но при этом, незаконченный: съедая себя, она поддерживает статичную систему мироздания. МЫ ЕЛИ МИР ДРУГ ДРУГА РАДУГ Тор, - трехмерная фигура, вытянутая полусфера, геометрический аналог змеи, кусающей себя за хвост, - суть фундаментальная форма бытования энергии.

   Natalia Fedorova - 07.02.2013 - 18:15

8. Postmeaning

   ose poem is published serially through a Facebook page which gathers all of its postings in its timeline since it began on February 27, 2011. The writing is surreal at times, mixing topics and language in ways that are grammatical but obeying an almost dreamlike logic, like Gertrude Stein’s Tender Buttons. Since its launching, every single one of its daily (or almost-daily) postings begins an ends with an incomplete sentence and even word, evoking a sense that it is part of a larger thought or text, yet there is no grammatical connection between any entry and the ones before or after.

   Quoted from I ♥ E-Poetry entry.

   Leonardo Flores - 23.02.2013 - 19:50

9. Any Vision

   This work is published as a video documentation of a simultaneously analog and digital poem— an instance of extreme inscription as described by Matthew Kirschenbaum. Written on a semiconductor alloy with “a focus GA ion beam” at font sizes much smaller than a pixel, requiring an electron microscope with magnification “ranges from 400x all the way to 10000x.” The naked eye cannot read this poem unaided, so the video takes us through an edited journey into the poem’s text reminiscent of Prezi, but much cooler in its materiality. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 11:52

10. Walt Whitman

    “Walt Whitman” isn’t a bot, it is a constraint an anonymous scholar took on: to tweet a portion from the 1855 edition of Leaves of Grass (almost) every day, sequentially from beginning to end, over and over. I use the word “scholar” because of the foregrounding and choice of edition (which edition of Shakespeare is Strebel using?) and the method of the constraint which forces the scholar to read each line when cutting and pasting it. This discipline has the powerful impact of keeping the scholar’s mind focused on this poet’s work on a daily basis, re-discovering Whitman’s poetry over time, and gaining insight in the process. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 09.05.2013 - 23:24

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