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1. Scriptpoemas

   Scriptpoemas (2005-) is a collection of poems or “poemas” which is still being written by Antero de Alda. He was described by Rui Torres as an explorer of “new paths for computer-animated poetry” (Torres, 2008). These short and (apparently) ready-to-consume poems were created using Flash, Javascript and ActionScript and they often enact the activity or attribute described in their title. Each poem seems to convey the literal meaning of the words used to describe them: the “poem in prison” is presented behind bars, the “spherical poem” can be described as a round object. However, as soon as the poems are activated by the reader, new details begin to surface. Antero de Alda makes use of the digital environment to uncover the many faces of a poem and the evasiveness of language. The arbitrariness of signs is, after all, widely explored by Alda in each poem. Nothing is what it seems and icons, concepts or famous photographs are defamiliarized and turned into traps designed to betray the reader’s senses.

   Daniela Côrtes Maduro - 06.02.2015 - 23:57

2. Bylyd

   En multimodal hypertekst om ulike særegne lyder i bybildet, samt refleksjoner omkring disse lydene.

   Miriam Takvam - 31.10.2018 - 16:00

3. RE\VERSE: an elegiac e-poem

   REVERSE: an elegiac e-poem (2020-21) results from the collaboration between cyberliterary artist collective wr3ad1ng d1g1t5 (Diogo Marques / João Santa Cruz) and visual artist Daniela Reis during the first 40 days after the Covid-19 pandemic status (March – April 2020).Following a random plus (pre-)combinatorial logic, 40 textual verses and 40 pictorial fragments intertwine in order to provoke a self-reflexive reading of the verse(s) and reverse(s) characterizing the experience of confinement.
   Combined, image and text (un)veil a dialogic path that, although necessarily entropic, is made of continuous renewal.

   (Source: Author's abstract)

   Irene Fabbri - 09.02.2021 - 18:46

4. Creating Story Instruments with Stepworks 2

   In this workshop, attendees will learn to create "story instruments," a genre of performative e-lit with a very simple interaction model. In a story instrument, the author decides *what* happens, and the user, through a one-button interface, determines *when* it happens. This form, with its inherent connections to music, video games, interactive comics, and slide presentations, has been used to collaboratively remix the works of noted California poets, sonify the history of Mars exploration, create multi-vocal lyric videos for Hamilton, and visualize samples of martial arts films in hip-hop tracks — to name just a few applications. The software attendees will use to create their story instruments is Stepworks 2, a new version of the web-based tool I first introduced in 2017. Stepworks (http://step.works) has been described as "an ideal platform for teaching e-literature through feminist critical making pedagogies" (Sarah Whitcomb Laiola, "Back in a Flash: Critical Making Pedagogies to Counter Technological Obsolescence" [The Journal of Interactive Technology and Pedagogy, December 10, 2020]).

   Milosz Waskiewicz - 26.05.2021 - 15:05

5. Ted the Caver

   Ted the Caver is a gothic hypertext fiction piece regarded as one of the earliest examples of 'creepypasta' or online horror legend. Published to the free Angelfire web hosting service in early 2001, it’s presented as the authentic hypertextual diary of a man called Ted and documents his exploration of a 'mystery' cave system. During publication, Ted the Caver gained broad popularity. Although this has since waned, it continues to be shared among those who discuss gothic experiences (Taylor, 2020).

   Ted the Caver has been credited with pioneering two foundational aspects of online horror fiction—the use of real-time updates and the use of hyperlinks, the latter of which gave the work "a distinctive digital quality that could not have been reproduced on paper" (Crawford, 2019).

   Works cited:

   T. R. Taylor, "Horror Memes and Digital Culture," in The Palgrave Handbook of Contemporary Gothic, C. Bloom, Ed., Cham, Switzerland: Palgrave Macmillan, 2020, pp. 985-1003.

   Tegan Pyke - 24.04.2023 - 16:01

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