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Spawn
Spawn is a mouse-responsive liquid poem that reduces its own language and content into chaos and symbols.
Eric Dean Rasmussen - 11.02.2011 - 16:45
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The Sweet Old Etcetera
Author description: The Sweet Old Etcetera is an interactive web project based on the poetry of e.e. cummings. e.e. cummings' poetry is highly visual, playful and experimental. "The Sweet Old Etcetera" interprets selected poems for a new media context and introduces additional layers of meaning through the use of motion, graphics, sound and programming. The project hopes to offer a fresh response to the print poetry, aiming to release it from the confines of the physical page and bring it into a digital environment in a playful way.
Eric Dean Rasmussen - 22.02.2011 - 15:20
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To Be or Not To Be Mouchette
Me, Mouchette, the online virtual character, I have an unusual status of existence. Regarding the art of my website (www.mouchette.org) I am the author and the creation at the same time, and yet through my remote internet life I remain invisible, anonymous, genderless, untouchable, neither alive or dead. Therefore participants of my interactive website confide in me in the most intimate way, as if were an imaginary being, living in their own head. Inside their own thoughts, no subject is taboo, fear, pain, life and death or even the temptation of suicide, and with me people feel free to talk about everything. With the reactions of the participants to my website I have composed animation films displaying many of the texts I received, spoken out by pixellated characters who tell their most private thoughts about their experience of surviving suicide, their own or someone else’s. My personality embraces all of my participant’s minds and together we form a collective consciousness pondering over questions of life and death in the digital era.
David Prater - 24.10.2011 - 10:40
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Cut to the Flesh
This multimedia poem was written by Jody Zellen, using a “page space” developed by Deena Larsen for this collaboration. Each of the question marks responds to a mouseover by triggering a line of verse moving diagonally across the poem’s surface along with a sound. The title’s reference to the flesh and the use of heartbeat, sonogram, and voice recordings saying things like “breathe” all reinforce a surgical conceptual framework, and metaphorically framing the diagonal language movement as cuts, slashing across the screen. The occasional variations in the sounds and word movement place the poem in conversation with some of the urban concerns which are so central to Zellen’s poetics, while the literalization of a metaphor through interface design is part of Larsen’s. (Source: Leonardo Flores, I ♥ E-Poetry)
Deena Larsen - 20.06.2012 - 19:27
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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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JABBER: The Jabberwocky Engine
JABBER produces nonsense words that sound like English words, in the way that the portmanteau words from Lewis Carroll's Jabberwocky sound like English words.
When a letter comes into contact with another letter or group of letters, a calculation occurs to determine whether they bond according to the likelihood that they would appear contiguously in the English lexicon. Clusters of letters accumulate to form words, which results in a dynamic nonsense word sound poem floating around on the screen with each iteration of the generator.
JABBER realises a linguistic chemistry with letters as atoms and words as molecules.
(Source: Author's description at Poems That Go)
Scott Rettberg - 18.10.2012 - 10:58
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Dear e.e.
This whimsical poem invokes one of the masters of idiosyncratic poetry, E. E. Cummings. Cummings used capitalization, spacing, punctuation, letters, and words in very unconventional ways to craft off-the-beaten-path poetic experiences. The speaker’s dream taps into this idea, by having e.e. rearrange the furniture in counter-intuitive ways. A simple interface for navigation from side to side presents different items of furniture, which reveal texts and brief animations towards new images when the reader places the pointer over them. Perhaps this is a metaphor for Cummings’ poetics, who rearranged letters and words to lead to new perceptions of ordinary things.
(Source: Leonardo Flores, in I ♥ E-Poetry)
Scott Rettberg - 18.10.2012 - 13:51
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London Eye
London Eye
Scott Rettberg - 18.10.2012 - 15:12
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Mondrian Mood
Inspired by and built on Piet Mondrian’s artwork, Eric LeMay writes a poem that reacts with the surface it is written upon. Different sections in the painting and color are used to structure lines of verse, in a way that represents two voices in conversation. One of the voices wants a heron in the work, while the other one is more concerned with the aesthetics of De Stijl, which don’t leave much room for natural elements, such as herons. The poem uses a restrained sense of humor to create play between meanings of words (such as “eye” and “I”), abstraction and representation, and the senses used to experience the rich textures of Mondrian’s paintings.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 15:14
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Broken
This poem is constructed around an erotic scenario between two recurring characters in Sondheim’s writing: Nikuko “a Russian ballet dancer” and Dr. Leopold Konninger. From the loading frame in this Flash piece, we are provided a point of view as if we’re the computer and are about to enter Sondheim’s imagination, and the audio doesn’t set this up as a comforting prospect. The poem seems to be designed to disturb as images of fragmented, objectified human beings gaze at one from positions of powerlessness and empowerment. Nikuko herself is portrayed as a kind of geisha dominatrix, particularly when juxtaposed with Dr. Konninger’s post-coital supine body. Subsequent images of a pile of heads and body parts and phrases like “carnage and extasy” create an unsettling mix of death and “la petit mort.”
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:39
