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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
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Tao
Tao
Eric Dean Rasmussen - 21.04.2011 - 12:25
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Negro en ovejas (Poema ovino)
Poem using images and video of sheep wearing words. A voice reads words when the mouse hovers over the appropriate photo.
Jill Walker Rettberg - 28.03.2012 - 10:57
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What They Said... (While We Were Sleeping)
Flash poem about media and society in the post-9/11 era.
Scott Rettberg - 16.06.2012 - 13:55
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Influencing Machine of Miss Natalija A.
A video installation.
Zoe Beloff’s "Influencing Machine of Miss Natalija A." is a Flash adaptation of a multimedia installation of the same name created by Beloff in 2001. This web-enabled version combines video, text, audio, and animation to tell the story of Natalija A., a psychiatric patient who was unable to communicate except through writing. Natalija believed that she was being controlled remotely by an “influencing machine,” a mechanical model of her body created by a doctor in Berlin which could be manipulated to control her telepathically. Based on an actual 1919 account of Viennese psychoanalyst Victor Trausk, Beloff’s work contains passages from Trausk’s notebooks, simulated effects of the “diabolical machine,” surrealist footage of medical procedures, and video clips of the actual broadcast technologies that emerged during the early twentieth century to influence populations worldwide.
(Source: Davin Heckman's description in the Electronic Literature Directory)
Scott Rettberg - 16.06.2012 - 22:03
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My Nervous Breakdown
This piece takes us inside the brain and mind of a speaker in the midst of a nervous breakdown. Bigelow roughly maps the initial four parts of the poem on a superior view of a human brain: “My Brain Is” on the frontal lobes, “What My Therapist Said” on the parietal lobes, “The Metaphor Room” on the temporal lobes, and “How to Dream a Suicide” on the occipital lobes. The final section (verse? movement?) focuses on different types of treatment: religion, medication, therapy, and exercise. Overall, the work is richly layered with video clips, language, sound, and minimalist interactivity to examine the speaker’s mindset as a biological, psychological, and social subject. The combination of fact, dream imagery, and creative exploration of suicide all showcase Bigelow’s expert hand in crafting blended metaphors and balancing the tone with delicately understated humor.
(Source: Leonardo Flores, I ♥ E-Poetry)
eabigelow - 28.06.2012 - 03:48
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(S)PACING
(S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.
Talan Memmott - 22.10.2012 - 00:40
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hektor
hektor is one of the main characters in the non-aggressive narrative - a mode of Benjaminian storytelling. The NAN proposes the "continuation of a story which is just unfolding." I use digital and traditional media to create encounters between an ambiguous 'I' and potential 'You.' By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this unfolding 'past,' and its openness suggests possibility and multiplicity. In a 1965 interview with Michael Kirby, John Cage said that theatre is not done to its viewers; they do it to themselves.
Scott Rettberg - 15.01.2013 - 21:08
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The Wave
The Wave Electronic Illuminated Hypertext is a multisensory etext derived from a series of new media performances. The work explores and articulates a collection of meditations on myth, metaphor, and digital embodiment.
An interactive assemblage of images, videodance, sound, animation, iconography, and text, The Wave creates an electronic architecture of hyper-dimensional poetic language. This electronic architecture expands and redefines the dramatic text as a fluid, animated, interactive infrastructure that exists in a liminal hyperspace between text and performance. The work expands and redefines the dance as dynamic, sensate, experiential process of inner transformation integrating the mind, body, and senses in metaphorical movement.
Scott Rettberg - 29.01.2013 - 05:50
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wide and wildly branded
Compass inspired digital poem exploring the pretty and pain of living in the southern hemisphere.
Source: Jason Nelson
Patricia Tomaszek - 01.02.2013 - 17:38
