Search
The search found 8 results in 0.201 seconds.
Search results
-
Faith
Faith is a kinetic poem that reveals itself in five successive states. Each new state is overlaid onto the previous one, incorporating the old text into the new. Each new state absorbs the previous one while at the same time engaging in an argument with it. The gradual textual unfolding is choreographed to music.
(Source: Author description.)
Eric Dean Rasmussen - 10.02.2011 - 14:29
-
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
-
çacocophonie
Çacocophonie is built with Processing and was published at DOC(K)S homepage in July 2013. On September 23, 2013, during the first debate of the ELO 2013 conference "Chercher le Texte," Castellin presented at Le Centre Pompidou auditorium in Paris three different versions of the poem: a plain and static text version, written on a word processor, and two animated versions, both built with Processing, but having slow and quick juxtapositions of animated text.
Alvaro Seica - 20.10.2013 - 20:26
-
L'Hymne à la Femme et au Hasard
L’Hymne de la Femme et au Hazard a été publié dans le journal alire n° 7. Dans le programme, le lecteur a accès à une matrice dans un premier temps. Il a le choix d’entrer dans ces matrices en choisissant l’ordre d’apparition de trois matrices parmi les catégories suivantes : la femme, le hasard et le néant. Puis, le lecteur a accès à la lecture de la matrice. Une fois la lecture complétée, le lecteur a accès au surtexte, variation des images de la matrice en question. Le surtexte fonctionne comme un moule, moule qui est conditionné par le lecteur. Lorsque le lecteur lit le surtexte un sentiment de déprise surgit alors. En effet, celui-ci doit faire un effort non-trivial de lecture. Bootz définit d’ailleurs cette lecture comme « un travail » et « un investissement » de la part du lecteur. Ce dernier lit deux textes différents, disjoints dans le temps. Plus précisément, lorsqu’un vers apparaît, il s’efface vite pour laisser place à un autre vers. De plus, la vitesse à laquelle défilent les vers est parfois bien trop élevée pour qu’un œil humain puisse lire, déchiffrer ou mémoriser les mots.
Johanna Montlouis-Gabriel - 07.09.2014 - 00:28
-
En réponse à la lampe
« En réponse à la lampe » a été publié dans le journal « alire n°6 » pour la première fois en 1992. En 1996, un portage informatique a été réalisé. Ce poème animé donne une possibilité importante de lectures grâce à l’apparition et la disparition de nombreuses bribes. Le poème bouge sur un écran noir, et le texte est pour la plupart imprimé en blanc. Le poème est composé de quelques éléments plutôt stables dans le temps, qui permettent au lecteur de pouvoir mémoriser un très petit nombre de vers, puis d’autres éléments ou vers apparaissent et disparaissent à leur guise, n’importe où à l’écran, rendant difficile de remédier à un sens quelconque, à cause de l’aspect transitoire du poème. Une esthétique de la frustration surgit de ce poème car, au moment où les vers apparaissent, ils s’estompent aussitôt. Cependant, l’aspect transitoire du texte permet une lecture temporelle, basée sur la mémoire du lecteur.
Johanna Montlouis-Gabriel - 13.09.2014 - 21:53
-
L'où
“L’où” by Philippe Bootz published first in 1990 in alire 3, is a work of animated poetry that has no images, that has no sounds, but that demands a strong engagement from the viewer only with the words on the screen. Being a transitory text where the text changes without interaction of the viewer, one sees firstly the word “que” and groups of letters, “aill” and “vaill” , that move, but that do not make complete words. Then, the letters form “vaill/que/aille” perhaps referencing the commonly used French phrase “vaille que vaille”, creating a syntactic animation where the text is in tension between the reading (and interpretation) of the text on the space of the screen and the reading of the text within the transitory development and evolution of the work. In a similar manner, the title follows this motif of a phrase that is not complete, but that represents something more important than the words alone. This work evokes the theme of shipwreck that is supported by a lexicon of words pertaining to water, or the ocean, and to destruction.
Claire Ezekiel - 15.09.2014 - 21:59
-
La Belle
“La Belle” is a kinetic poem created by Philippe Bootz in 1989. Published in the review alire 2, it was later transferred into the anthology Le salon de lecture électronique in 1994. The poem itself is a brief program that is presented in several parts. That is to say, the poem seems to be cut into strophes: a preliminary strophe that introduces the poem, a sequence of lines that appear and disappear quickly in the center of the screen that make up the second part of the poem, and the third strophe that is presented just after the first and second strophes. Yet, the third strophe changes a bit after the second strophe. Only the last line of the poem, “froid jusqu’au coeur,” is seen. This means of presenting the poem complicates the comprehension of its sense and thus creates a sentiment of distance from the poem. Moreover, the rapidity of the program is accentuated by the transfer software for technological reasons. Therefore, the feeling of isolation from the poem is augmented inadvertently by the software program. Despite all that, a meaning can be drawn from the poem so long as one knows how to slow down the program to be able to soak it in.
Jonathan Baillehache - 16.09.2014 - 05:18
-
Nuit Noire
Nuit Noire is a creation by Dutey and Jane Sautiere (1997) published in alire 10. The work itself begins as what appears to be a dark night. The screen is completely black and dark. White text appears and falls slowly, and the words become clearer at the center of the page; then, the text disappears again. The text falls in groups, perhaps in strophes, but one must read the order of the lines, not the words, in reverse order because the work begins, in fact, with the last line of the poem and progresses towards the beginning. The second time, the poem begins at the bottom of the screen and moves up the screen rather than falling to the bottom. According to Philippe Bootz, the poem is a retrograde text. The work is also a metaphorical animation where the text moves, but the words themselves do not change. Here is the text (from the start to the end): Nuit noire, odeur de tubéreuses. Toussent les grenouilles toutes ensemble et toutes ensembles se taisent, pour de plus fluettes et de plus mystérieuses voix. Une radio qui chante l’opéra chinois peut-être, ou peut-être pas. Une palme métallique au-dessus de la tête fait osciller la moustiquaire laiteuse.
Claire Ezekiel - 22.09.2014 - 02:12
