Search

The search found 23 results in 0.01 seconds.

Search results

1. Toy Garbage

   This generative poem re-purposes the code in “Tokyo Garage” and produces a remix of “Taroko Gorge” that is also an inversion of the natural world. As the poem unfolds like an endless stream of Toy Story outtakes (in which toys gain a life of their own when away from the children that own them), but with other older toys, many of which are no longer in circulation. Words like “toxic” remind us of some of the reasons these toys were recalled or discontinued. (Source: Leonardo Flores, I ♥ E-Poetry)

   Meri Alexandra Raita - 23.02.2012 - 14:31

2. Yoko Engorged

   This erotically charged generative poem imagines John Lennon and Yoko Ono engaging in endless sexual exploration. This famous couple was controversially open about sexuality, nudity, and used their celebrity to cut through bourgeois prudishness. After Lennon’s death, Yoko Ono continued with her artistic and musical career, with creative practices associated with the Fluxus movement. For example, this poem uses the “audience volunteer(s)” to reference her famous performance piece titled “Cut Piece” in which audience members cut her clothing with scissors until she was naked on stage. This poem is a bold remix of Nick Montfort’s “Taroko Gorge” code, which started as “began with the rather awful titular play on words and just evolved/devolved from there.” (Source: Leonardo Flores, I ♥ E-Poetry)

   Meri Alexandra Raita - 23.02.2012 - 14:40

3. An American Life In Writing

   An American Life In Writing is a re-contextualization of the words used in the first fifty-two poems of Ted Kooser's column, American Life In Poetry. Each poem is alphabetized and made mobile through the use of Javascript and Cascading Style Sheets. Users are invited to click words within a list, and then to drag them using a mouse in order to (re)organize, score, visually depict, and otherwise create a new work. The code employed in the project allows users to deal in more than one graphic plane by piling language on top of itself and by offering shifts in perspective through an uncommon juxtaposition of words. Side by side, these two curations of language present both the traditional editorial model of print and a newer model based within the decentralized context of networked culture.

   Patrick Sanchez - 18.04.2012 - 00:36

4. 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

5. Argot, Ogre, OK!

   All of the prior remixes of Nick Montfort's _Taroko Gorge_ rewrote the text, while leaving Nick's code unchanged or almost so. I thought that was a shame. I also thought it was an opportunity! Since they all essentially consisted of word-lists plugged into a schema, I was able to remix them together on two axes at the same time:

   * Combining the word-lists of any two poems;
   * Mutating the stanza schema.

   I also took the opportunity to randomize the color schemes of the pages. (But not the font choices or the background imagery that some of the poems indulged in. Optima for everybody, I'm afraid.)

   Nick's original poem generates a constant ABBA-C pattern, with some extra B's thrown in. This page essentially invents a new pattern (for example A-, or BC-BA, or CCC, or so on) for each block. The code for the pattern is on the left, and the generated output is on the right.

   To answer the obvious question: Yes, this page really does execute the code that's displayed in the left column, and it really does generate the text in the right column.

   Scott Rettberg - 24.06.2012 - 15:09

6. Know

   Buzz Aldrin Doesn't Know Any Better was a poem about crazy talking with a street-person outside a pawn shop on a sunny San Francisco afternoon.

   The original work was first created to be the middle panel for Things You've Said Before But We Never Heard, a triptych exploring conversations with in different registers, as well as the differences in presenting text in print and screen formats.

   Know is the second app in the Poetry for Excitable [Mobile] Media (P.o.E.M.M.) Cycle. We will create a series of ten such apps, each exploring different interaction methods, collaboration strategies, and publication methods. The P.o.E.M.M.s are also part of a series of exhibition-scale interactive touch-works integrated with large-scale printed texts. To find out more about the P.o.E.M.M. project, visit www.poemm.net.

   (Source: Author's description on iTunes store)

   Scott Rettberg - 26.01.2013 - 12:40

7. Pale Fire A Poem in four Cantos by John Shade

   Many think Pale Fire is Nabokov’s greatest novel. At its heart beats a 999-line poem, penned by its fictional hero, John Shade. This first-ever facsimile edi­tion of the poem shows it to be not just a fictional device but also a master­piece of American poetry, albeit by an invented persona. In the novel, Shade’s mad neighbor, Charles Kinbote, absconds with the poem, compiling an ostensible line-by-line commentary that largely ignores Shade's text and heeds only his own egotism. Kinbote’s commentary, the bulk of the novel, is an insane comic triumph of would-be romantic self-celebration that cannot quite mute its undertones of desperation. But in this new publication we rescue the poem from the madman's hand, and provide even-handed commentary on Nabokov’s most ambitious poem. Nabokov authority Brian Boyd explains the poem on its and Shade’s own terms, comparing its texture with the best of Shakespeare’s sonnets. Poet R.S. Gwynn sets it in the context of American poetry of its time. Artist Jean Holabird, who conceived the project, illustrates key details of the poem’s pattern and pathos.

   Natalia Fedorova - 06.02.2013 - 22:51

8. Postmeaning

   ose poem is published serially through a Facebook page which gathers all of its postings in its timeline since it began on February 27, 2011. The writing is surreal at times, mixing topics and language in ways that are grammatical but obeying an almost dreamlike logic, like Gertrude Stein’s Tender Buttons. Since its launching, every single one of its daily (or almost-daily) postings begins an ends with an incomplete sentence and even word, evoking a sense that it is part of a larger thought or text, yet there is no grammatical connection between any entry and the ones before or after.

   Quoted from I ♥ E-Poetry entry.

   Leonardo Flores - 23.02.2013 - 19:50

9. Any Vision

   This work is published as a video documentation of a simultaneously analog and digital poem— an instance of extreme inscription as described by Matthew Kirschenbaum. Written on a semiconductor alloy with “a focus GA ion beam” at font sizes much smaller than a pixel, requiring an electron microscope with magnification “ranges from 400x all the way to 10000x.” The naked eye cannot read this poem unaided, so the video takes us through an edited journey into the poem’s text reminiscent of Prezi, but much cooler in its materiality. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 11:52

10. Walt Whitman

    “Walt Whitman” isn’t a bot, it is a constraint an anonymous scholar took on: to tweet a portion from the 1855 edition of Leaves of Grass (almost) every day, sequentially from beginning to end, over and over. I use the word “scholar” because of the foregrounding and choice of edition (which edition of Shakespeare is Strebel using?) and the method of the constraint which forces the scholar to read each line when cutting and pasting it. This discipline has the powerful impact of keeping the scholar’s mind focused on this poet’s work on a daily basis, re-discovering Whitman’s poetry over time, and gaining insight in the process. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 09.05.2013 - 23:24

Pages