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1. Bathroom Sketches

   From January to May 2008, Jhave produced a series of 30 sketches, experiments in motion photography, usually involving water, in which he tests out different ways of juxtaposing and superposing his poetic texts with video clips. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 16:27

2. Thoems

   The default display for this series of “THOught-poEMS” is a looped linear sequence of stanzas displayed in randomized fonts hovering in random positions over randomized video clips, while a cluster of words flock towards the pointer’s location on the text. Jhave provides the reader with control over several variables: videos, font, position, and gives him the ability to toggle, play, or pause the presence of text, video, flocking words, and sound. Finally, the reader can choose to see the video singly or doubled with a mirror image of itself. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 16:32

3. Videograph Fictions or Graphoems

   Based on television footage from Jason Nelson’s childhood in the 1980s, such as Frankenstein reruns, news coverage of President Reagan, ads for Pacman pasta, bubble gum, and dinoriders, this series of narratives and poems are structured on graphs that are as absurd as the footage itself. The graphs and their accompanying narrative and poetic texts chronicle the rise and fall of characters, a President, secret organizations, and the physical and mental health of gum chewers. Characteristically witty and incisive, Nelson’s writing thrives as a Postmodern critique of culture and politics. At the same time, there is a personal touch to his work, as we can reconstruct aspects of his childhood through the video clips, all evidence of the electronic and physical toys (and their power sources), film and food, and a link to politics and the Cold War— with the terrifying specter of nuclear war hovering over it all. With that in mind, read carefully Nelson’s word choices throughout this work to discover a subtext more poignant than snarky commentary. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:06

4. Superstitious Appliances

   This set of six thematically linked poems revolve around appliances and obsessions about the body. From the outset, the Nelson seeks to unsettle the reader by taking a medieval, religious kind of image and placing it over a layer of what seems to be digital static, while a couple of soft audio tracks play: one a barely audible person speaking, and a throaty voice repeating “I will eat you.” As the reader explores this surface and clicks on links to go to the poems, she will be unsettled further by entering environments that respond to their presence in various ways. There is a learning curve for each poem as the reader figures out the interface enough to be able to read the texts, which increases the exposure to the environments Nelson has crafted for each short poem. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:14

5. Birds Still Warm from Flying

   The energy of the looped music clip and the whimsically tactile image of its title set the tone for a poem (or 43 quintillion poems) composed of lines about human relationships, spaces in buildings, medical procedures, books, computers, and more. Jason Nelson frames this poem as a mature cube interface poem, and it is difficult to disagree, when juxtaposed with his earlier work in this vein “The Poetry Cube.” The cube interface is more polished in its physicality as a manipulable three dimensional object, with Rubik’s Cube dynamics that allow for up to 4.3×1019 possible permutations of its 42 lines and 12 videos. Each face is preset with a color for its numbered lines of verse and short looping video clips of some sort of movement (on foot, by bus, in a car) in an urban setting. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:40

6. Maud

   This unique performance of Tennyson’s dramatic poem “Maud” uses programming with OpenGL and other “abandonware” to produce an audiovisual reading. Part of what this work underscores is the nature of digital data, such as the words of Tennyson’s poem. Each letter, space, and line break is represented by the computer as a sequence of 1s and 0s, the on/off signals of binary code. The thing about computers is that it can then use that code to reproduce the same sequence of characters visually, or can use that code to produce different kinds of output. Sally Rodgers and Steve Jones have created a program to read “Maud” performing the poem as an audio-visual conceptual art video. But this is not simply a machine reading what it can’t comprehend, it is also a visualization tool that allows Rodgers, Jones, and us to see and hear things in the poem that we wouldn’t notice in a vocal performance or text-to-speech rendition. And it is also an instrument they have shaped and customized to produce the documented performances through videos. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:56

7. 3 Proposals for Bottle Imps

   This suite of three exquisitely paced narrative poems tell stories labelled as allegories of “Genius,” “Ambition,” and “Envy” yet structured as instructions for the design of bottle imps. <—-(This would be the place where I would normally place a link to a resource, but it is unnecessary for this work because Poundstone has put together a meticulously researched and insightful FAQ page.) In this FAQ page, he makes a case for these automata as fitting metaphors for electronic literature, because they are life-like creatures that are animated by mechanisms to produce a looping behavior on a scheduled performance. Indeed, these poems enact the metaphor very well as looping Flash animations used to deliver a narrative through tactical portioning and formatting of a prose text into lines, stanzas, and other visual organizational structures and carefully scheduled delivery of each portion. The careful attention to line structure elevates the prosaic language to poetry, and its scheduled presentation to e-poetry. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 19:33

8. What I Believe

   This poem has a very clear voice, an “I” whose beliefs are expressed throughout this work, which some readers may interpret as William Poundstone’s (or at least a persona he has created). From the outset, however, Poundstone explains that this poem was created from searches of the words “I believe” with various online engines, and that “Some texts have been recombined using a travesty algorithm.” He also provides a long list of people quoted for this poem in the page titled “Huh?” This subverts the notion of a single voice by acknowledging the multiplicity of sources and people quoted and the transformations potentially applied to the texts. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 19:35

9. You Secure in Your Job?

   These four short video poems use language attributed to four persons (or shall I say personalities?): George Kayatta, Ed Leedskalnin, Marie Bashkirtseff, and @georgelazenby. All four of these people were interested in personal media: journal writing, science, and artworks for public consumption: painting, sculpture, poetry, Tweets, etc. Two of them are of uncertain origin: George Kayatta is a self-described Renaissance Man, who attributes many feats and accomplishments to himself, including a translation of the Bible into English in rhyming couplets, and the coining the term “spime.” It is unclear whether the author of the Twitter identity @georgelazenby is George Lazenby, an actor famous for playing the role of James Bond only once in On Her Majesty’s Secret Service, whose career never quite reached its initial promise (see Lazenby Factor). (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 19:46

10. Four Poems

    Published the same year as New Digital Emblems (2000), these four short kinetic poems read like subverted graphic design experiments. The bright monochromatic, textured, shaded, or divided backgrounds contained by a borderless window serve as a stage into which words move in from several directions to form and develop the poems. The electronica inspired sounds punctuate moments in each poem, such as the apparition of words or the twist at the end of “Nil,” also emphasizing the rhythm of the scheduled presentation. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 08.02.2013 - 20:00

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