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1. The Mandrake Vehicles

   The Mandrake Vehicles consists of three "vehicles," each one surfaced with a large text block concerning the biological development, folklore, occult ritual, magical association, and homeopathic usages of the mandrake plant. The surface text blocks can be read linearly from one to the next. However, each surface text also conceals a depth of two additional poems (as well as liquid layers, when the letters are in a transitional state). In each vehicle, both of these inner poems have technically been visible all along in the top layer, but remain undetected because of the presence of the other letters and characters. The inner poems of each vehicle are unearthed as letters drift off the surface of the poem and the remaining letters solidify into new poems. In addition to the relationships created between the contents of the three poems of each vehicle, relationships are also forged between words of the different layers that share the same letter(s). In the liquid layers, letters cast off scales of themselves which fall down the screen, colliding with other cast-off scales to form the detritus words, the trash cast off by the process.

   Eric Dean Rasmussen - 21.02.2011 - 14:30

2. [theHouse]

   [theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.

   Eric Dean Rasmussen - 10.05.2011 - 13:15

3. svevedikt ("poetry floating in the air")

   "svevedikt" ("poetry floating in the air") consists of seven parts, each in a loop. Every poem is created out of Norwegian words, fixed in the same position all through the animation, but exposed in different degrees. Each poem starts up exposing a few letters. The number of letters is increasing until all of them are seen. Then the number of letters is reduced in a new way. The words are selected in a non-semantic way, and each viewer will experience this differently. Both the images and the sound of the letters when read are important for the experience. The positions of the words have much in common with how the poet made concrete poetry in the sixties.

   (Source: Author's description)

   In “svevedikt” he [Ormstad] goes further on with an animation of a poem that moves continuously and will never stay still for its reader. In her extensive catalogtext on “svevedikt” Karen Wagner presents the poem in context of Ormstads authorship. (Source: Hans Kristian Rustad, ELINOR)

   David Prater - 09.11.2011 - 13:38

4. Robolettries

   Les Robolettries est de la poésie qui est réalisée en programmation en utilisant l’ordinateur comme outil (actif, dynamique). Quelques unes de ces œuvres ont été créées comme des hommages aux autres artistes/écrivains qui travaillaient dans le domaine de l’informatique (Jean Pierre Balpe, Antoine Schmitt). Alexandre Gherban, l’auteur des robolettries, présente les poèmes dans une forme transitoire observable. Ces poèmes peuvent être classifiés sous le mouvement de "Lettrisme." Dans l’art de ce mouvement, les lettres et les symboles ne sont pas considérés comme porteurs des messages utiles, mais plutôt comme des objets d’art ou comme matériel visuel. Dans le site web, il y a une liste des œuvres qui suivent cette même classification de programmation, les robolettries en faisant partie. Ce programme met en scène de petits automates où l'on voit le comportement et les mouvements programmés des « lettres fluctuantes ». Le nom de ce programme vient du mot « robographe. » Au total, Gherban a créé 9 robolettries ; chacune présentant différents titres et donc un thème, une variété de couleur et un mouvement différent.

   Erin Stigers - 09.09.2014 - 03:54