Search
The search found 223 results in 0.014 seconds.
Search results
-
ira, sarah
This video poem is about how serious the undertones of a playful crush on celebrities can be. Each stanza that scrolls up the screen delivers a layer, perspective, or progression of the situation, starting with a Sunday afternoon routine for the couple whose desires shape the poem. A key strategy in the poem is to examine the focus of desire, within the couple, towards the radio celebrities, particularly their bodies, voices, and the idealized American Life they represent. Another is to deploy radio metaphors to reflect upon relationships, using images of tuning to stations, focusing on host and guest, and providing images of wavelengths, which suggest that while they are both tuned to the same station, they may be on different wavelengths. Or perhaps they are on the same frequency, that of ordinary life with routines and ruts, while desiring to be on another, represented by the radio stars they are attracted to. The implications for this relationship can be intuited by examining the language used to indicate proximity and distance— between each other, between them and their respective celebrities, and between their life and the one they dream of.
Hannelen Leirvåg - 10.02.2013 - 20:16
-
Sky
This poem is built over the song “Don’t Know Why” by Norah Jones, and takes its time doing so, with opening dedications, a slow-paced delivery of the poetic lines, and even some playful credits at the end. The poem’s linguistic text focuses on words used to denote possibilities, missed opportunities, second chances to create a tone similar to the last few sections of “The Love Song of J. Alfred Prufrock” but using language more fitting of “Anyone Lived in a Pretty How Town.” The lyrics in Norah Jones’ song enhance the melancholy tone, as well as the images of dusk turning into night and a flower losing its petals. So savor this unhurried poem and lose yourself for contemplation of its details, if only for the space of a song.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:24
-
Sotto Voce
"I know the voices dying with a dying fall
Beneath the music from a farther room."The quote from T. S. Eliot’s poem “The Love Song of J. Alfred Prufrock” is an important motif in this poem by Safavian, inspired by overheard cell phone conversations. These conversations are intimately private yet their delivery in public spaces make them “become part of the poetry of public, everyday life,” according to Safavian. This idea of private confessions getting out into the world is a theme parallelled in Prufrock, which in turn references Guido da Montefeltro’s words in Dante’s Inferno (see the epigraph).
Hannelen Leirvåg - 10.02.2013 - 20:32
-
Intersecting Lives
This poem interweaves voices, images, words, and narrative threads to capture some of the emotional intensity of three characters in a relationship that seems to have ended. As an image-driven hypertext, the reader can click on different links usually associated with different characters to explore their thoughts. Each node has its own input cues and responds to mouse movements, mouseovers, and clicks differently, so explore the possibilities of each before clicking on too hastily or you might miss important lines in the poem. Some of the images take some interpretation and are not always clear in what they represent, enriching the experience by suggesting rather than showing. The use of handwriting and drawings also enhances a sense of the personal, and occasionally adds a layer of visual ambiguity (does she use the word “connections” or “corrections?”). The handwriting also masks a number of typos which are difficult to correct when processed as an animated image in Flash (an issue addressed in Jhave’s “Typeoms”).
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:36
-
White Room
The minimalist design for this poem concentrates attention on the visual while it evokes all the senses with its language choices. There is only one input cue at the opening of the poem a white dot in the faint gray background that triggers the poem’s slowly scheduled display of language. The pace at which lines fade in and out creates a layered meditative experience and the words instruct readers to imagine a space, do things with their bodies, and become aware of how it leads to sensory experience. Pay attention to the rhythm established by the fading language and to the rhetorical and semantic pattern Knoebel creates with the poem so you can really appreciate how he breaks both patterns with a single powerfully sensuous word.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:45
-
How I Heard It
This aural poem about a speaker’s perception of a bar fight is arranged on a visually minimalist interface that allows readers to experience both the chaos of the event and the calm recollection of it afterwards. Each circle (or is it the letter O?) contains two areas that respond to mouseovers. The circumference triggers the playback of a recorded line of speech that tells a piece of the story. The center triggers a loud diegetic sound that takes the narrative beyond being a language constructed event to something that feels real. You can trigger more than one sound clip simultaneously, by the way, and if you move your mouse pointer rapidly over the whole piece, you can create a truly chaotic mess of sound and information— perhaps like the experience of a bar fight.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:48
-
6-string Aria
This brief video poem is delicately built from just a few simple elements: a guitar aria, five handwritten letters, simple animation, and a handful of words scheduled into the presentation. The poem explores different meanings one can arrive from the elements of the word aria, such as air and area. As the letters move and rotate around a common axis, they delineate a space for different readings, as well as the implied space of a relationship in trouble. The gentle reconfiguration of the two hand-drawn “I”s into two mathematical symbols suggest a resolution to the conflict implied by the text, particularly when juxtaposed with the final clustering of the letters.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:48
-
Empty Thoughts for Real Life
This minimalist piece takes a purely visual approach to language in a manner consistent with her other works. The panels only contain speech balloons, which are divested language, people, and context to represent purely abstract utterances.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:12
-
Seen Death
This poem takes on the coverage of the U.S. wars in Afghanistan and Iraq after the September 11, 2001 attacks particularly how by 2007 it seemed to have been somehow de-emphasized in the media. Zellen composes this piece out of newspaper headlines, data visualizations, iconic images, journalistic photography, text, and news media sound clips to make readers aware of the deaths that result from war and occupation. Slightly interactive, the reader triggers and ends scheduled sequences that display some of these materials in visceral ways that make it difficult to ignore the suffering. This multimedia hypertext is divided into three main sequences— “Death,” “Seen,” and “Extended Harmoniously—” and in all of them we see layered, stacked objects that contain language that has been remixed to produce newly readable poetic texts.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:21
-
Pause
This visual work could be seen as a kind of visual poem, scroll drawing, or webcomic strip. Seemingly the result of tracing or drawing by hand on thin paper, the piece has two layers of drawing: one layer is presented at the beginning of the piece for a few seconds before it fades into an opacity that mimics ink shining through from the other side of thin caliper paper. To add complexity, the work seems to be created on a long strip exposed to view partially through a scrolling mechanism we cannot control and which goes by at a rate that is challenging to keep up with. Zellen acknowledges this desire for control by pausing the scrolling just for a moment and briefly bringing up the word “pause” before continuing the rapidly scheduled presentation of the work.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:27
