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He Said, She Said
This Webyarn frames an argument between husband and wife about having children. The wife wants to keep trying, while the husband doesn’t seem to want children at all. The piece is structured around a wedding: its imagery (cake, dancing, food), vows, institutions, and symbols. The surface of the text responds to the reader’s mouseovers, rewarding exploration by triggering multiple layers of language and musical phrases in short loops. The circularity of the wedding ring structures the poem as the argument goes round and round the topic, replaying sounds, images, words, and their movements. A small cluster of squares slowly gets colored in a non-linear sequence near the bottom of the window, suggesting the passage of time for this relationship, yet the questions continue throughout. Will this disagreement ever get resolved? The Buddhist touches interspersed between mostly Christian wedding vows suggest a way out of the endless cycle: the cause of suffering is craving and both characters have desires they could let go of.
(Source: Leonardo Flores)
Eric Dean Rasmussen - 23.04.2012 - 14:23
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The Quick Brown Fox (a Panagram)
For this piece, Bigelow uses the most famous pangram in the English language, “The quick brown fox jumps over the lazy dog,” to structure a poetic narrative hypertext. Each letter contains a piece of a story about a relationship about to change, expressed by means of a poetic line that moves in meaningful ways over a brief looped video background. Not wishing to reveal more about the story, I will just say that Bigelow deftly maps the story onto the pangram several ways: chromatically, graphemically, allegorically, and cinematically. In the credits, he describes his role as “spun by Alan Bigelow,” an interesting choice of words in the context of his creative approach. Having read his delightful series of “Ten…” short list-essays on digital literature (positioned after the images in his site), and having read the credits to his works, I know that he uses royalty-free sounds, images, video, and occasionally language —modified as he sees fit— in the creation of his works.
Scott Rettberg - 16.10.2012 - 15:23
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abcdefghijklmnopqrstuvwxyz (iPhone app)
abcdefghijklmnopqrstuvwxyz is a sound toy, a performance tool and an art work in its own right. You can play with the letter-creatures and watch and listen how they interact with each other or use them to produce soundscapes like you would with an electronic musical instrument. abcdefghijklmnopqrstuvwxyz blends art, biology, fun and physics to create a unique, dynamic and interactive sound ecology.
This app is the result of joerg piringer's ongoing research of vocal sounds and their relation to dynamic typography in the form of performance, video and software art.
(Source: Author's description)
Scott Rettberg - 19.10.2012 - 13:58
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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
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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
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Dibagan
In this collaborative poem Geniwate takes a relatively simple interface and page space designed by Stefans and makes it powerfully political. The audio recording of a reporter telling the story of surviving an RPG attack in Iraq, along with a photograph with a large drop of blood on the lens, make for a chilling backdrop for the poem. With this frame of reference set, the poem is presented as a stack of words at the base of five columns, which the reader can position by placing the mouse on the base of a column until it reaches the desired height on the screen. It takes some time to place and read the words on each column (which are readable both vertically and horizontally), which allows the looping audio clip and changing hues on the image clip to sink in for a visceral experience.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.02.2013 - 14:04
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The murmur of i n t e r s t i c e s
This is a collaboration across centuries between the 13th century Persian mystic and poet known as Rumi, whose silky lines of poetry appear beneath Zahra Safavian’s 3 by 3 grid of tiles with short looping videos and words— an interface for meditation on this poem’s idea. Rumi is credited with inventing the meditative poetic practice of “the turn” by dancing to the rhythm of the hammering of the goldsmiths. Rumi’s poems are usually organized into couplets, not necessarily rhyming, clustered into variable stanzas, and tend to establish a conversation between self and other, self and the world. Each tile can be clicked to reveal another word and video, representing perhaps some of the dualities expressed in the concept of the “turn,” though we are not dealing with binary opposites— the associations are more diverse than that. The three lines that appear after interacting with the short videos on the grid reinforce that idea, separating awareness of the head and the feet, each turning on its own, uncaring what the other does, as with a baby nursing.
Hannelen Leirvåg - 28.02.2013 - 20:28
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Dans la gueule du loup
This responsive (or “reactive” work as described in Megan Sapnar’s essay “Reactive Media Meets E-Poetry”) is a great example of a work that reacts to user input, though I’m not sure there’s enough of a language base to connect it to poetic tradition. Translated as “In the lion’s mouth” (though I feel “In the wolf’s mouth” is more accurate) this feels more like a visual art piece than a poem and I suspect Clauss would agree, since he describes his works in Flying Puppet as “tableaux interactifs” (interactive tableau). Regardless of classification, this is an engagingly atmospheric piece that invites interaction with a surreal payoff. Move the pointer and play with this work to discover what lies above and beneath the image and interface, considering all the layers involved. And don’t forget that you are one of those layers… (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.04.2013 - 17:17
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Wittenoom: speculative shell and the cancerous breeze
This award-winning responsive poem focuses on the Australian ghost town Wittenoom, abandoned due to toxic dust caused by asbestos mining. Each of its nine parts focuses on an aspect of the abandoned town and consists of an image from Wittenoom, generally portraying urban decay, an brief looping instrumental audio track, links to other parts of the poem, a title for the section, and a text accessible through different responsive interfaces. A brief parenthetical help text near the bottom left corner of each screen provides encouragement that hints at the interface, promting readers to explore the interactivity and intuit its internal logic. The thematic focus and consistent visual design pull the work together, while the varied interfaces lead to new explorations of the spaces, together producing an experience both jarring and immersive. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 12:45
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In a World Without Electricity
This is a true story about the untimely death of someone close to the speaker, who seeks to reconstruct the story of her death in a way that can provide closure and hopefully justice. It is also a reflection on analog and digital storytelling and the objects that hold these stories.
The work’s interface displays each portion of this linear narrative as a kind of slideshow, sequentially presenting each piece of the argument and evidence in a way that makes a compelling and moving. In tune with its media, it is very “electric” with plus and minus symbols on the sides of the slideshow (in the shape of a battery) that serve as a navigation interface. The electricity in the title, the battery, shaped interface, the line of ooooooo’s at the base of the slides— which indicates one’s position in the narrative, all seem to symbolically suggest the energy required in a assembling materials and evidence to put together a compelling narrative, one that might lead to an official investigation.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 16:15
