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Fotomo Blues
Fotomo Blues is a work of hyperpoetry and images. It's been available online since 1997 [at www.ellipsis.net/fotomo/].
It was made for fun in the pioneering days of the web - in 1997- in order to explore new narrative possibilities offered by online publication and a screen-based environment.
Fotomo Blues offers a satire on urban grunge and media-obsession. It's an interactive visual-verbal rap on a world of electrified air, digital melancholia, meet-them-in-the-flesh nostalgia, sound bites fights, soap star charisma, geek-speak freaks, feelgood factors contractors, hairsplitting graffiti, tabloid tyranny, toxic tranquillity, revved-up redundancy, sex, lies and a whole lot more.
When it first appeared it was described as "a timely zeit through the urban geist."
Eric Dean Rasmussen - 05.02.2012 - 11:08
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Literal Art
John Cayley dadas up the digital, revealing similarities of type across two normally separate, unequal categories: image and text. "Neither lines nor pixels but letters," finally, unite.
(Source: ebr First Person thread page)
Eric Dean Rasmussen - 15.02.2012 - 13:15
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Adventures in Transition: Jason Nelson’s Scary Journey from Flash to J-Code and Desk to Hand
Perhaps the most disturbing and exciting periods of a digital poet’s creative practice is the transitional period between using one technology and learning another. For the past eight years I’ve been predominately a user of Adobe Flash. I say user, because in many ways
the software is a drug, carving response and reward pathways into the cranium fibers. My creations have been the beneficiary of a tool ideal for multi-layered/dimensional and interactive artworks viewable on all major platforms. However, it is this platform issue and Adobe’s losing
position in its battle with the Tyrant Apple that is quickly making Flash obsolete, unplayable in the fastest growing segment of electronic devices, tablets and phones. This very well might turn around and Flash might save itself. But suffice it to say, the net/portable creative ndustries have left Flash to fend for itself.
(Source: Author's abstract, 2012 ELO Conference site)Eric Dean Rasmussen - 22.06.2012 - 16:59
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Reimbox
Die Reimbox ist ein Gedichtgenerator, der algorhithmisch Gedichte generieren und vorlesen kann. Die generierten Gedichte sind metrisch geordnet und gereimt. Die Reimbox wurde nicht darauf hin trainiert, sinnvolle Texte zu erstellen, vielmehr soll gezeigt werden, wie kreativ eine Maschine mit Sprache umgehen kann. Die Reimbox verführt den Zuhörer zurück in die Zeit des Dadaismus, in der versucht wurde, die künstlich auferlegten Grenzen der Sprache zu sprengen. Die Reimbox soll zudem verdeutlichen, wie sehr sich unsere Vorstellungen von Begriffen wir „Autor“, „Werk“ und „Kreativität“ durch die Anwendung und Verbreitung von algorhithmischer Literatur einem Paradigmenwechsel unterziehen werden müssen.
Klemens Bobenhausen - 09.08.2012 - 10:25
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Electric Poem
November of 1960, date of the “Electric Poem”, by Albertus Marques (1930-2005), can be considered as the pioneering time of a poetic experience with the electronic media. It is
"one electric poem, in which the energy is supplied through piles. The reader pushes a button and it appears in the center of the screen - white field - the word END. Until the moment that the person completes the action of pushing the contact, anything is revealed, or else, the possibility and the power of an action. As soon as the reader releases the button, the word disappears, therefore its emergence and permanence depend exclusively on the action of pushing the contact." (MARQUES, 1977, p. 156).
To the similarity of the future electronic poetries, and reminding the 0 and 1 of the binary system, the poem demands the reader's interaction that will produce meanings starting from the white field, button and of his/her initiative of pressing it.
(Source: Jorge Luiz Antonio, 2008: 19)
Luciana Gattass - 08.11.2012 - 17:06
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Ten Doors Closing
Ten Doors Closing
Jeneen Naji - 08.01.2013 - 15:08
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Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry
Digital poetry always involves mathematical concepts. Fusing together textual elements is an additive process, at very least. Combining files and presenting them via computer screens multiplies possibilities for poetry, and the sum, or sums, of the artistic equation are often worthy of the effort involved. Thus, what we factor into the equation, and how it is factored in, is important. Considering some of the successful works of digital poetry that appeared in the hypermedia journal Alire in France, and in other historical and contemporary works, I see a trait that emerges despite overt aesthetic differences and variant approaches in works produced that I wish to associate with a liberating and useful poetical concept that emerged in South America nearly a century ago.
Scott Rettberg - 30.01.2013 - 22:08
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Dressage #7
Claude Maillard and Tibor Papp’s “Dressage no. 7” is glaring example of anthropophagic inflection in early digital poetry. The authors, continuing to use the same language and themes established in previous editions of Alire, cast familiar words and phrases amidst a wider span of new visual contexts. Alternating graphical pages, verbal pages, and pages that incorporate both propel the narrative. Works in Maillard and Papp’s “Dressage” series address the diminishing status of civil liberties in general, inscribing their views in a new media format that revives the aesthetics of an earlier era with new purpose.
(Source: Chris Funkhouser "Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry")
Scott Rettberg - 31.01.2013 - 19:33
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Grande Enquête
This webpage has been realised for the festival e-poetry 2007 in collaboration with Delphine Riss. During the festival, the participants were invited to vote at the following question:
Selon vous, les travaux présentés lors du festival e-poetry 2007 (performances, installations, oeuvres) sont ils des oeuvres de poésie numérique?
According to you, are the works presented at the e-poetry 2007 festival (performances, installations, piece of works) digital art works of poetry?
Participants were also invited to add precisions in creating their own buttons where their comments were written on them. Other users could then add weights to these buttons by clicking on them.
The goal of this project was to materialise the difficulty of defining what is digital art poetry and how it is received. While presenting the problem of the definition, the task was too not be closed up in only one: The different requests, potentially infinite, allowed to visualise a state of the reception of the digital poetry, skewed by our intervention.
(Source: http://cecilebucher.net/e-poetry/)
Marthin Frugaard - 11.04.2013 - 11:23
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Cidade City Cité
Versão do poema do mesmo título de Augusto de Campos (1963) utilizando cartões perfurados de computador.
Luciana Gattass - 03.07.2013 - 23:32
