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1. The Hollow

   A visual poem created with Macromedia Flash. It pictures a self that strives with closure and isolation. The theme of the work is the relation between individual world and external environment.

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 15.01.2013 - 21:40

2. nam shub web

   nam shub web is a website processor. it takes the textual content of external websites and applies user defined rules to generate visual poetry out of it. these rules consist of operations that change the text or modify the visual appearance.

   each set of rules can be stored and published for others to view and alter. however nam shub web does not store any actual content. it only records commands of how to alter the external website content. in case of a dynamic website as the source the visual and textual results change with the dynamic content.

   according to Neal Stephenson's novel Snow Crash, the ancient sumerian nam shub of Enki was a neurolinguistic hack aimed against the standardarization and unification of society and human life through verbal rules and laws. therefore nam shub web can be seen as a computerlinguistic hack targeted against a global unified culture and empire.

   (Source: Author's description on the project site)

   Scott Rettberg - 30.01.2013 - 11:05

3. 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

4. #Carnivast

   #Carnivast is an interactive electronic literature application for desktop computers and Android devices that explores code poetry as a series of beautiful and complex 3D shapes and textures.

   Andy Campbell - 04.05.2013 - 14:46

5. FLUX RSS

   written in java this applet gets a lot of rss feeds (in the french zone) in real time and composes, in real time also and as a work in progress, with them visual poems; each of the results are exported to my local computer in order to finally get, at the end of the 2013 year, some kind of archive of the "news" by which we are invaded each day---- and that we very often forget the day after! - it 's a kind of work about our "media-collective-memory". The words are treated in relationship with frequency in the news: the biggest are the most frequents. But not allways the most importants...

   Philippe Castellin - 25.06.2013 - 16:50

6. Pietistentango

   Der Pietistentango (1997) ist ein gemeinsames Werk von Reinhard Döhl und Johannes Auer und ein klares Beispiel für ein animiertes visuelles Gedicht. Für dieses Projekt verwendeten die beiden ihnen bereits bekanntes Material. Das Werk zeigt aber deutlicher noch als das Buch Gertrud , dass die Umsetzung von älteren Texten und Projekten nie 1:1 vor sich ging, sondern das Material stets eine grundsätzliche neue Bearbeitung erfuhr. Der Pietistentango wurde zu einem Teil des TanGo Projekts (1997). Sein Ursprung war eine Mail-Art-Aktion , die anlässlich der Projektvorstellung im Dezember 1996 im Goethe Institut in Montevideo dokumentiert wurde. Die Karten von Döhl an Auer erhielten alle möglichen sinnvollen Buchstabenkombinationen des Wortes »Pietisten«: z. B. »ist, piste, pisten, stein, steine, niest, nest, pest, pein, pst, psi, sein, ein, nie, ei, niete«.

   Beat Suter - 06.07.2013 - 13:08

7. Niku Codepo

   A tribute to Alan Sondheim in the form of code poem.

   Scott Rettberg - 08.07.2013 - 12:47

8. Algorritmos: infopoemas

   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 that Jorge Luiz Antonio’s analysis (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. Some of the resulting images were published in Finitos Mais Finitos: Ficção/Ficções [Finite Plus Finite: Fiction/Fictions] (1996) and Algorritmos: Infopoemas [Algorythms: Infopoems] (1998), whose initial essay develops “a pixel poetics” and explains the amalgams created in the title. The quest for transgression, which is underlined by the book’s title (1998), is followed by the quest for formal synthesis.

   [Source: Álvaro Seiça, "A Luminous Beam: Reading the Portuguese Electronic Literature Collection" (2015)]

   Alvaro Seica - 11.09.2013 - 10:16

9. Roda Lume

   When I began using video technology to produce my first videopoem, Roda Lume (Wheel of Fire), in 1968, I did not know where the limits were and where my experiments would take me. I was really experimenting on the most elementary meaning of the word experience. A sense of fascination and adventure told me that the letters and the signs standing still on the page could gain actual movement of their own. The words and the letters could at last be free, creating their own space.

   [Source: E. M. de Melo e Castro, "Videopoetry" in Kac, Eduardo (ed.) Media Poetry: An International Anthology (2007: 176)]

   Alvaro Seica - 14.11.2013 - 15:57

10. fallen

    In "fallen," Piringer combines a visual sensibility with computer programming skills to tumble text from the English translation of The Communist Manifesto into a pile at the bottom of the page. The result is a mass of letters stripped of their original meaning and representing the failure of an idea.—Geof Huth

    Rebecca Lundal - 15.11.2013 - 23:18

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