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1. Trilogy

   My work with visual narrative has included installation form, book works, diptychs and billboard presentations. Using the web has allowed me to continue to expand my preoccupations with constructing rules for reading, methods of pacing and continue to explore image/text relationships. I am interested in the space between language and image.

   Trilogy is comprised of 3 image/text narratives whose themes are concerned with survival. Locale and characters are suggested by cropped fragments from mass media imagery as well as map fragments. While the images may allude to time period by photographic style or content, their function (protagonist, action, location) is directed by the text.

   Trilogy is a collaboration with Los Angeles fiction writers Rod Moore and Katherine Haake, both of whom have allowed me to reconfigure their texts.

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 13.01.2013 - 21:10

2. Formes libres flottant sur les ondes

   As a writer, I've always had a deep interest in the relations between words, and images. To me, they are the two members of an original sign which by itself was able to give things their meaning. Using the web authoring tools that makes mixing words and images easy, we can try to find this first means of representation again. But quickly this reasoning becomes invalid. We will never find this original sign again. We are, on the contrary, living in a world where words have been deprived of their power to name things by the abundance of images. This generates a misfortune that can be read in my Formes libres flottant sur les ondes.

   (Source: 2002 ELO State of the Arts gallery)

   Scott Rettberg - 15.01.2013 - 20:48

3. Restless

   Restless

   Marthin Frugaard - 18.01.2013 - 11:56

4. Recuil

   Recuil

   Scott Rettberg - 29.01.2013 - 08:29

5. <? echo [THE_SIGNIFIER] ?>

   This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.

   Hannelen Leirvåg - 02.02.2013 - 12:19

6. 6 Weird Questions asked in a Wired Way

   This poem is divided into 6 parts, each one a 4-line stanza that asks or answers a series of questions “in a wired way,” providing the linguistic text of the poems in a way that provides a traditional counterpoint to the presentation. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 15:24

7. The Battery Life of Meaning: Speech to Text Poetry

   This suite of poems were created from speech to text software listening to different kinds of audio— movies, talk radio, television, and political speeches— and a poetic shaping of the output from that computer operation. This ingenious approach produces some fascinating poems which you might label as “Conceptual writing” or “Flarf poetry” (flip a coin). (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 16:55

8. Fallow Field

   This narrative hypertext work about the final season of an unfruitful marriage is divided into two parts, six sections, and 30 lexia to deliver the equivalent of a short story into a structure associated with poetry. The numbering of the lexias, as well as the primary interface offered to read them (depicted in the image above) which presents them sequentially numbered on a single scrolling column draws attention to each group of sentences, creating emphasis where needed. The language itself is pure prose poetry, with alliterations underscoring important moments in the poem, such as the title, taken from the emotionally and verbally resonant last sentence in the poem.

   Hannelen Leirvåg - 10.02.2013 - 14:55

9. Realization Randomatic 2000

   The minimalist interface for this piece presents two links, one in each black square, that lead to a “Poem by Nari.” Self-described as “visual poems from the cyberstream,” these conceptual poems are inspired by the Web— its aesthetics, code, images, and texts, both intended and accidental— and reworked by Warnell to comment, highlight, and transform it into e-poetic works that are difficult to classify in any conventional genre or art form, except as net.art, which is far from traditional. Returning to this piece (or reloading the page) shows different works in the window, keeping the experience fresh while frustrating attempts at re-reading the works by providing uncertain access to them.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:52

10. Mechanical Bride

    This conceptual poem exists as an enigmatic electronic object and a record of an online performance. To best appreciate the event and its record, one should be aware of several contexts:

    1. Marcel Duchamp’s piece titled The Bride Stripped Bare by Her Bachelors, Even (a.k.a. The Large Glass). (In French: La mariée mise à nu par ses célibataires, même)
    2. The now defunct Modern Bride.com website.
    3. The Defib Interview space: an IRC chatroom hosted by Webartery.com(now 404), an online artists collective created and curated by Jim Andrews as an extension of the Webartery Yahoo Group (still active).

    As can be seen in the piece, Warnell created a mashup of the first two conceptual spaces, and invited the Webartery community to view the page and participate in a performance of the piece.
    During the chat, Warnell— using his identity PBN (Poem by Nari)— posted a sequence of 180 lines of code poetry (plus a “title” at the beginning and end) inspired by IRC commands. The participants reacted and responded to the lines as they appeared during the chat, numbered in a countdown from 180, as well as to Duchamp’s puzzling artwork.

    Hannelen Leirvåg - 10.02.2013 - 21:15

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