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Web Warp & Weft
Web Warp & Weft was created with the support of East Midlands Arts and the backing of the trAce Online Writing Centre at Nottingham Trent University.
This project aimed to explore the ways in which women and men have woven their own stories with yarn and thread, with rugs and quilts and textiles. The website was designed to thread the ideas together and work the threads [stories] into a hypertext with pictures, sound and animation, to create a bigger picture, an overall story.
The project was based in Nottingham, which has a particularly notable history of textile creation, including frame-knitting, lacemaking, and more contemporary manufacturing processes.
Hannelen Leirvåg - 19.02.2013 - 20:03
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Whispering
This video poem delivers lines of poetry in a sequence that emphasizes lines and words through kinetic language and precise timing to unnerve the reader. From the outset, it begins to set its creepy tone through as short looping soundtrack that provides a metronomic quality to the poem, which unfolds line by line drawing attention to certain words by flashing snippets of almost recognizable images and words. Its visual design uses oranges and reds to contrast with a blue window-like rectangle that changes position slightly over the course of the poem. The train-like sound reinforces a sense that the reader is on rails, leading to an inevitable, chilling conclusion as the poem’s imagery unfolds and the reader realizes where this is leading its readers.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 19.02.2013 - 20:23
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Snowblind
This collaborative poem was written for the CAVE at Brown University and is a relatively simple yet compelling argument for this kind of writing, initiated by Robert Coover in 2002. Other CAVE works reviewed in this blog have published video documentation of a performance, which is a far cry from the real deal, but considering it takes time and money to travel to Brown University to use their CAVE (and a prohibitive amount of money to build one), this will do. Soderman and Carter have gone a step further by providing access to the Cave Text Editor and the source files for readers to explore the work and run a preview of it.
Hannelen Leirvåg - 28.02.2013 - 13:23
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Campbell's Soup Town
This piece was commissioned as part of the Edge of Elsewhere project in 2010 and exhibited in January 2011 in the Campbelltown Arts Centre near Sydney, Australia. As part of the project, the Campbelltown City Council announced workshops with YHCHI as follows:
In the iconic text animation style of Young-Hae Chang Heavy Industries, the finished work will tell a story of a futuristic city, dreamt up by participants using the animations they develop in the workshops.
The resulting narrative is deliciously absurd story of a town taken over by Campbell’s soup company where”everything is made from soup and for soup.” The narrative that follows is a wicked critique of neoliberalism, factory towns, corporate appropriation of the world, pop and op art, with reverse Soylent Green undertones andcould be described as a kind of science fiction magical realism. The original electronica music is kitschy enough to be described as cheesy (pardon the pun, but this piece is full of them), enhancing its self aware campiness.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.02.2013 - 19:30
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Bus
“Bus” creates a soundscape of the interior of a bus in an urban location, and then uses a black screen for over a minute at the beginning of the piece to focus our attention on the aural information. When the narrative prose starts to flow on the screen, the narrator can focus on describing what he sees and we become immersed in his observations without needing further elaboration on the setting we’re in. The wandering eye approach to this and the next poem yields acute observations of human behavior while revealing much about the narrator & speaker. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.03.2013 - 21:22
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Inanimate Alice, Episode 2: Italy
Aptly called a novel, this serially published multimedia work uses games, images, video, and narrative prose cut into portions that use poetic tactics for delivery of ideas and story. And it is beautifully integrated, layer by layer, moment by moment, to deliver a poignant narrative about a girl named Alice who exemplifies her media-savvy generation. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.04.2013 - 16:45
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I Cried Of Course
This multimedia version of William Minor’s poem takes the musical version and adds a layer of photographic documentation that brings out the personal and particular in the poem. The sad tone of the poem’s text is underscored by the piano and vocal performances, and the images help us visualize the details of what is behind this emotional energy. Here we see a man and a woman in black and white photographs, young, together, and happy to be there. Other images of the woman alone gazing out of the photograph’s frame, in one case wearing a wedding dress, suggest that the memory of the deceased young man is still alive within her. Images of manuscript versions of the poem, including drafts and handwritten musical scores show the work in progress, evolving from one version to the next. All of these objects— manuscripts, scores, photographs, audio recordings, and e-poem— seek to capture that which can only be experienced or imagined.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.04.2013 - 17:08
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Expansive Mayhem
The interpretive dance performance seeks to evoke the experience of a concussion and does so by clustering six dancers on a side of the stage using red lighting to suggest a sense of the inside of the speaker’s head. When the dancers are clustered, swaying semi-coherently, they evoke the sense of a brain function normally, but as the piece progresses it begins to unravel, as the dancers spiral out of control. Their disjointed movements as they each dance on their own, spread around the stage mimics the cognitive impact of a concussion, echoed by the language hovering over them. The dance performance concludes by returning to normal function, urgently, as one of the dancers runs around the reorganized collective, as if trying to hold them together by sheer force of will as the screen and stage fade to black, leading us to wonder. Has the brain been healed? Has normal language function returned?
“Expansive Mayhem”
Choreography: Julia Tedesco and Ellie Sanna
Poetry: Loss Pequeño Glazier (“Io Sono At Swoons “)
Music: Jai Uttal and Ben Leinbach
Dancers: Melissa Hunt, Marika Matsuzak, Stephanie Ohman, Sammi Pfieffer, Samantha Will, Jessica VigliancoHannelen Leirvåg - 28.04.2013 - 18:38
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Birdfall
“Birdfall” deconstructs a single narrative sentence written in conventional English and slowly transforming it into mezangelle. As you scroll down the window to read each line and prose poetry paragraph, the language becomes stranger as she inserts extended passages in brackets inside of words, shifts spelling to homophones with different meanings, adds self-referential metatext that suggests links, and more. She uses animated GIFs in the background and foreground to signal to readers that there there are shifting intentions, language, and narrative— as if the ground on which this text is placed is unstable. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 03.05.2013 - 16:24
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Clone-ing God & Ange-Lz
“Clone-ing God & Ange-Lz” is graphical and scheduled in its presentation, transforming language and images in over time in ways that subvert traditional ways of portraying such figures. Short sound loops, animated images, and animated images of text with formatting and language changes enhance her mezangelle language practice with visual information, as can be seen in words like “prayah” (emphasis added 2.high[lite] the you.z of Y.t tXt in “ah”). (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 03.05.2013 - 16:37
