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Hello Hell
This emotional poem about heartache and the “thousand natural shocks that flesh is heir to” particularly in the aftermath of a failed relationship. Lew takes the metaphor of emotional pain as being related to the heart and extends it to the realm of medicine, by referring to the speaker as “the subject” and creating an interface that suggests experimentation on or examination of that test subject. The image of bubbles (or are blood clots?) floating around the screen, is an interface for scheduled stanza sequences activated by a mouse click. The sound of a heart beating in the background and the poem that unfolds as you click on the bubble/clots (with 1 to 5 bubbles, which can be read sequentially or not) suggest that heart-stopping moment when one encounters a greeting card from a departed loved one.
This poem is reminiscent of D. H. Lawrence’s poem “Medlars and Sorb-Apples,” because it examines the same phenomenon, though Lawrence comes to a different conclusion when he says “wonderful are the hellish experiences.”
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 20:11
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ira, sarah
This video poem is about how serious the undertones of a playful crush on celebrities can be. Each stanza that scrolls up the screen delivers a layer, perspective, or progression of the situation, starting with a Sunday afternoon routine for the couple whose desires shape the poem. A key strategy in the poem is to examine the focus of desire, within the couple, towards the radio celebrities, particularly their bodies, voices, and the idealized American Life they represent. Another is to deploy radio metaphors to reflect upon relationships, using images of tuning to stations, focusing on host and guest, and providing images of wavelengths, which suggest that while they are both tuned to the same station, they may be on different wavelengths. Or perhaps they are on the same frequency, that of ordinary life with routines and ruts, while desiring to be on another, represented by the radio stars they are attracted to. The implications for this relationship can be intuited by examining the language used to indicate proximity and distance— between each other, between them and their respective celebrities, and between their life and the one they dream of.
Hannelen Leirvåg - 10.02.2013 - 20:16
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6-string Aria
This brief video poem is delicately built from just a few simple elements: a guitar aria, five handwritten letters, simple animation, and a handful of words scheduled into the presentation. The poem explores different meanings one can arrive from the elements of the word aria, such as air and area. As the letters move and rotate around a common axis, they delineate a space for different readings, as well as the implied space of a relationship in trouble. The gentle reconfiguration of the two hand-drawn “I”s into two mathematical symbols suggest a resolution to the conflict implied by the text, particularly when juxtaposed with the final clustering of the letters.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:48
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Seen Death
This poem takes on the coverage of the U.S. wars in Afghanistan and Iraq after the September 11, 2001 attacks particularly how by 2007 it seemed to have been somehow de-emphasized in the media. Zellen composes this piece out of newspaper headlines, data visualizations, iconic images, journalistic photography, text, and news media sound clips to make readers aware of the deaths that result from war and occupation. Slightly interactive, the reader triggers and ends scheduled sequences that display some of these materials in visceral ways that make it difficult to ignore the suffering. This multimedia hypertext is divided into three main sequences— “Death,” “Seen,” and “Extended Harmoniously—” and in all of them we see layered, stacked objects that contain language that has been remixed to produce newly readable poetic texts.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:21
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Pause
This visual work could be seen as a kind of visual poem, scroll drawing, or webcomic strip. Seemingly the result of tracing or drawing by hand on thin paper, the piece has two layers of drawing: one layer is presented at the beginning of the piece for a few seconds before it fades into an opacity that mimics ink shining through from the other side of thin caliper paper. To add complexity, the work seems to be created on a long strip exposed to view partially through a scrolling mechanism we cannot control and which goes by at a rate that is challenging to keep up with. Zellen acknowledges this desire for control by pausing the scrolling just for a moment and briefly bringing up the word “pause” before continuing the rapidly scheduled presentation of the work.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:27
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More Real than Now
This video poem is built from a dual juxtaposition of language and image and an image with itself. A steady stream of language scrolls horizontally on the screen in a manner suggestive of a news ticker providing a prose poem that uses grammar and the window size to offer a sense of the line. This creates a disconnection between the line we read now and the one we read a few seconds or a minute from now: it is the same line, but we are witnessing a different portion of it. The way the work handles the images is similar. The window displays a portion of the image, and then moves (or does the image move?) so the reader can see different parts of the photograph. Interestingly enough, a semi-transparent snapshot of the original view moves along with the window, emphasizing the disconnection between the initial and current perception of the piece.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 15.02.2013 - 14:32
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Jeffrey
This multimedia poem is an assault on the senses— visually, kinetically, and aurally— it bombards the reader with so much information, color, sound, and stimulus that it is difficult to process, much less read. The text is handwritten and moves, spins, changes around some boxes the reader can manipulate, moving each whirling cluster to a spot in the window where it might be legible. The music, noise, and speech loop loudly but barely understandably, much like the handwritten text. Even in the menu page the typed text is so skewed that it is barely legible.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 19.02.2013 - 19:49
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Dibagan
In this collaborative poem Geniwate takes a relatively simple interface and page space designed by Stefans and makes it powerfully political. The audio recording of a reporter telling the story of surviving an RPG attack in Iraq, along with a photograph with a large drop of blood on the lens, make for a chilling backdrop for the poem. With this frame of reference set, the poem is presented as a stack of words at the base of five columns, which the reader can position by placing the mouse on the base of a column until it reaches the desired height on the screen. It takes some time to place and read the words on each column (which are readable both vertically and horizontally), which allows the looping audio clip and changing hues on the image clip to sink in for a visceral experience.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.02.2013 - 14:04
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det sublime
A Young-Hae Chang-inspired piece on football, also challenging Kants concept on the sublime
Sissel Hegvik - 02.04.2013 - 20:55
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Welcome to Pine Point
his award-winning Web documentary about a short-lived mining town in Canada made the 2011 New Media Writing Award shortlist. A masterful, lovingly produced piece is challenging to categorize in terms of genre: is it a video (its interactivity and born-digital ontology make it difficult to label as “film”), memoir, narrative, poem, or an artistic website? As a multimedia work (using audio, video, text, images) that requires multimodal engagement (reading, listening, viewing, interaction) from its audience, it is fittingly multi-generic. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 28.04.2013 - 18:55
