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10 Poemes en 4 Dimensions
10 POEMES EN 4 DIMENSIONS a été créé sur et pour PC, sous Internet Explorer.
Son point de départ est un dialogue platonicien, "Le Cratyle", dans lequel Socrate débat avec Cratyle et Hermogène de l'origine des noms.
Sont-ils, comme le pense Cratyle, formés de l'essence des choses. Ou bien sont-ils, comme l'avance Hermogène, pure convention?
En mêlant textes, graphismes et animations, l'écriture en langage HTML permet d'aborder ce débat, et de lui apporter sinon des éléments, du moins des échos.
Un clic sur le côté gauche de la bannière fait apparaître une barre de navigation. Un double clic la fait disparaître. Un clic sur le côté droit de la bannière fait progresser jusqu'à la page suivante.
En haut et à gauche de chaque page, un autre lien vous est proposé, qui donne un autre de lecture différent.
D'une façon générale, cet ensemble se découvre autant avec les yeux qu'avec les mains. Cliquez et doublecliquez partout sur la page où un lien apparaît: chaque page recèle de nombreuses surprises.
La lecture est une exploration.
(Source: Author's description from the project site)
Eric Dean Rasmussen - 23.03.2011 - 14:42
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Nostalgia
Created specifically for the ELO Symposium, this piece is a textual response to net art and electronic literature, in the form of an essay/poem/opinion as animated gif. Words replace each other over time. The user is not allowed to interact in any way other than opening or closing the page. The piece exposes a personal nostalgia for linear things, exact categorization, and known objects as well as a simultaneous excitement and apprehension regarding the future or net art, virtual worlds, and abstract literature.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 22:12
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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
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ilvyrgif
I Love Yr GIF is a project based on the culture of the first wave of net art, produced entirely with animated gifs taken from personal collections such as of Jimpunk, Marisa Olson and Superbad. Inspired by the iPad zooming features, here the low tech rhyme with Wi-Fi and mobility, remixing the past and the future of the Internet in an optical black and white delirium. Browse the desktop version or access the webapp from your iPad or iPhone at: http://desvirtual.com/ilvyrgif/ (Source: author)
Luciana Gattass - 22.01.2013 - 18:49
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The Adventures of i
This narrative “cyberpoem” started in 1995 with the goal of developing into a lengthy “soapie” about the life of i. The project obviously didn’t go on for a long time, though the 18 webisodes plus two alternate guest webisodes collected here are a testament to an ingenious exploration of the narrative potential of animated Concrete Poetry. Each piece is an ingenious animated GIF that illustrates and comments upon a moment in the early life of a character named i. The personification of the typographical character i and the transformation of other words into objects that i explores and interacts with truly exemplifies the Noigandres group’s description of Concrete Poetry as “tension of things-words in space-time.” (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 17:41
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dimocopo - digital moving concrete poetry
This suite of 28 early animated poems from 1995-1997 were created as animated GIFs but are really powered by a vibrant enthusiasm over the ability of computers to write kinetic language. In this suite, we see words morph into other words and into objects, words whose movements evoke their meanings, words used to build landscapes full of objects (a decade before WordWorld), and phrases reconfiguring and reshaping themselves into new ones— as is the case with “she left” (above). This poem is very economical with its language resources, yet so effective in describing the psychological process of a breakup in a relationship. These poems are little gems worth exploring, though the poet doesn’t necessarily make it easy for us. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 02.02.2013 - 11:56
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Simplicity
Using frames, pop-up windows, animated GIFs, error codes, forms, and pop up menus, this suite of 10 short e-poems written between 1998-2000 by Vietnamese poet Duc Thuan are a snapshot of the pre-2000 Web and its concerns. The interface is minimalist, evoking the title, and the works themselves are simple to operate yet their content suggests an ironic relation to the title. From the opening, Thuan establishes an aesthetic of code and malfunctioning in “Crash,” an idea explored throughout the suite in poems like “The Hidden and the Shown,” “Interact,” and “Interact.” “Imaguage of Consciousness” accompanies images of Web advertising banners along with jarringly loud music to warn us of directions we should avoid. The final poem “Diary of a Drunkard I Only Met Once” uses the simple interface of nested menus to organize a poem in way that provide multliple reading possibilities and stanzas embedded within lines, something evocative of Jim Rosenberg’s work. These are deceptively simple works, worthy of focused attention to appreciate their complexities. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 02.02.2013 - 12:44
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a as in dog
This delightful sequence of minimalist concrete poetry is an homage to Bembo’s Zoo and Anipoemas is the result of a creative collaboration in which the technical and the conceptual become truly interconnected. Its minimalist aesthetic includes technical aspects like producing it with animated GIFs— an early Web technology for animation— and keeping font sizes close to 12 points, and using the Courier New font, which is simpler and Web-friendlier than Bembo. These creative choices are designed to make readers pay attention to the text, as well as emphasizing the minimalist graphics in which just a few pixels can make a huge difference. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 17:34
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Chu Ta
This scheduled poem is built around a quote from James Elkins’ 1999 book, The Domain of Images, in which he analyzes the blurred boundaries between images and writing. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:33
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Weave
This hypermediated hypertext suite of poems make excessive use of background images, animated GIFs, and messily redundant code to render them deliciously unreadable and inviting. Bell weaves a dense mesh of lines, background images, and code to produce surfaces that are difficult to read at times, making us wonder if he’s aiming for felt rather than the finely stitched fabric of verse. Bell’s lines are witty and full of wordplay, non-repetitive reiterations, alliteration, and an inviting awareness of his strategies and questions. Follow the links to discover many other poems, in some of which he has the design audacity of using animated GIFs as background images.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 22:23
