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  1. Amor de Clarice

    Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem.

    Scott Rettberg - 15.04.2011 - 12:04

  2. 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

  3. 1/2/3

    1/2/3 is an elliptical videopoem based on Russian minimalist poet Vsevolod Nekrasov’s “Utopia” and footage from Mozhaysky region of Moscow. Each time three random photos containing a space where a text could appear are shown at three interactive screens. Being touched each photo transforms to video where one out of ten lines of Nekrasov’s poem appears. The viewer never knows which of these evasively poetic lines were documented or added with digital tools. (ELO 2015 catalog)

    Hannah Ackermans - 12.09.2015 - 11:33

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