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1. Anywhere

   This collaborative poem combines the Steve Matanle’s words and voice with Ingrid Ankerson’s music and design to produce a well integrated multimedia performance. The poem plays like a short film, requiring no interaction from the readers but commanding aural and visual attention with engaging music, a richly textured vocal performance, and visuals that enhance the experience of the poem. Some lines in the poem are punctuated by the appearance of text, brief animation sequences, and graphical information that enriches the imagery evoked in the spoken words. Timing is all in this brief poem which synchronizes its visuals with the music and rhythms of Matanle’s voice to tell a story of a forbidden love affair that is hurtling towards a destination as inevitable as the train tracks laid across the poem’s visual field.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 14:46

2. Fallow Field

   This narrative hypertext work about the final season of an unfruitful marriage is divided into two parts, six sections, and 30 lexia to deliver the equivalent of a short story into a structure associated with poetry. The numbering of the lexias, as well as the primary interface offered to read them (depicted in the image above) which presents them sequentially numbered on a single scrolling column draws attention to each group of sentences, creating emphasis where needed. The language itself is pure prose poetry, with alliterations underscoring important moments in the poem, such as the title, taken from the emotionally and verbally resonant last sentence in the poem.

   Hannelen Leirvåg - 10.02.2013 - 14:55

3. Inanimate Alice, Episode 3: Russia

   This is a work of fiction told in verse, cinematically, and with video games about the coming of age of a girl named Alice. This novel— self-consciously labelled as such to evoke the original meaning of the term: a new genre— reinvents the genre in digital media for a generation portrayed through Alice.

   Even though Alice’s circumstances are atypical (living around the world with her oil industry employed father and being home-schooled by her artist mother), she is emblematic of a generation whose experience of the world is deeply interconnected with digital media. Her developing literacy includes programming her animated creation and imaginary friend Brad on a portable device that allows her to take photographs and videos, play games, search information, and symbolically be a part of her, containing some of her memory and identity. This device is the 21st century version of the journal or diary, in which an Alice from previous centuries would have developed her voice and identity through writing, drawing, painting, scrapbooking, and other multimodal forms of writing compatible with paper-based technologies. Curiouser and curiouser.

   Hannelen Leirvåg - 10.02.2013 - 15:03

4. Letters Demand Things

   This suite of two responsive visual poems are inspired by typography and phonetics, and the poetics of Concretism and Lettrism. “Vowel Submission” seeks to discover letters physically discoverable by breaking off portions of vowels. The interface leads readers to probe the space of the poem searching for triggers that will break the rotating vowels into the consonants that lie within. “Typespeak” is the more interesting piece because it vocalizes the sounds of each letter without combining them into words. In other words, one can type a word, but it will play as a simultaneous set of individual sounds. He turns the computer’s keyboard into an instrument that plays verbal notes from Madsen’s vocal apparatus. The random placement of brief letter animations on the screen also resists any attempts at writing words, a very Lettrist move because it subverts attempts at creating meaning.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 15:34

5. Conversation

   This suite of three sound poems (or three-part poem) were inspired by Glenn Gould and his experiments with musique concrète. Nelson uses audio recordings of interviews on three topics— injuries, products, and robots— and places them on an interface that allows you to mix 8 clips at different volume levels and audio panning (sending signal to the left or right speakers). This can be used to listen to a single voice or place multiple voices in conversation, adjusting their virtual proximity (volume) and relative position in order to construct a sense of space in which people discuss a topic. Each interface is visually and thematically designed with a different background images, slider knobs, and an animated morphed image. The image above is from “Injury Analysis” and the following two are from “Product Sermon” and “Robot Party.”

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:05

6. Hello Hell

   This emotional poem about heartache and the “thousand natural shocks that flesh is heir to” particularly in the aftermath of a failed relationship. Lew takes the metaphor of emotional pain as being related to the heart and extends it to the realm of medicine, by referring to the speaker as “the subject” and creating an interface that suggests experimentation on or examination of that test subject. The image of bubbles (or are blood clots?) floating around the screen, is an interface for scheduled stanza sequences activated by a mouse click. The sound of a heart beating in the background and the poem that unfolds as you click on the bubble/clots (with 1 to 5 bubbles, which can be read sequentially or not) suggest that heart-stopping moment when one encounters a greeting card from a departed loved one.

   This poem is reminiscent of D. H. Lawrence’s poem “Medlars and Sorb-Apples,” because it examines the same phenomenon, though Lawrence comes to a different conclusion when he says “wonderful are the hellish experiences.”

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:11

7. Video Blog::Vog

   This interactive video poem highlights the use of collage that is so central to Web work that one of the first Web browsers was called Mosaic. This artistic technique builds a whole out of parts, much like a Web browser assembles a coherent display document out of different kinds of electronic objects, often in different locations on a network. Formats like Flash or Quicktime produce an illusion of unity by mixing together multiple elements and packaging them for export as a single proprietary file.

   Hannelen Leirvåg - 10.02.2013 - 20:19

8. 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

9. 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

10. 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

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