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changeEverything
What is a synonym? Sometimes, we pick the wrong word. ChangeEverything is a web app based on the naive belief that every word can be replaced by one of its synonyms. Using a live connection to a remote thesaurus, ChangeEverything provides variation on a text slowly straying from the original phrase to a perfect non-sense. Click after click, the user provokes a progressive drift in meaning. The user is also invited to take part in the random selection of synonyms. When pressing the mouse longer, a list of synonyms will appear, enabling the user to pick the version he or she prefers. The app is written in HTML5/Ajax with the Jquery Library.
Serge Bouchardon - 17.06.2011 - 12:35
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The Pines at Walden Pond
This lyric hypertext poem is based on a speaker’s thoughts and observations centered upon the pines at Walden Pond, a space celebrated in American literature thanks to Henry David Thoreau’s book Walden, his experiment in self-reliance and Transcendental song.
Larsen’s hypertext is mapped upon an image of a pine branch, in which several nodes are connected by spindly linear trails. Each trail of links can be interpreted as a line of thought, starting with four nodes that focus on the pines, the speaker’s perception of them, Thoreau, and the speaker herself. Following the link trails lead to nodes that hold together well, though there are both physical and conceptual branchings. Clicking on links as they appear within each text also creates thematic associations. Both ways navigating this poem lead to a powerfully associative coherence in a piece that engages the beauty of the place while questioning some of Thoreau’s politics.
(Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 03.02.2012 - 15:45
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Going through the Signs
This collaborative hypertext poem uses a “page space” designed by Zellen to create a sequence of pop-up windows that last 20 seconds before closing along with links that lead to new pop-up windows, simultaneously closing the previous one, and leading to a final page with three thin vertical frames. This produces a powerful sense of progression in which the reader must press on or have to start over while not providing any way to get back to an earlier page. Larsen uses this structure to build a trail of consciousness which includes the thoughts of a character seeking a path and sense of purpose in a world that seems to have the former, but not the latter. (Source: Leonardo Flores, I ♥ E-Poetry)
Deena Larsen - 20.06.2012 - 19:37
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Incarnation: Heart of the Maze
This lyrically powerful hypertext poem is inspired and informed by a large number of sources, primarily on mythology (mostly Greek) and labyrinths (mandala shaped ones). Centered upon the Minotaur myth, the labyrinth Daedalus and Icarus built to contain it, Ariadne and the Minotaur himself, the poem gives a voice to some of these characters, representing them visually with an image of a portion of the mandala-shaped stone maze, and a body part (in the name given to the node. The hypertext is structured like a mandala, allowing readers to take direct paths in towards a center space with its own nodes. The interface also allows for lateral or circular movement across voices, placing them in conversation with one another and allowing readers to spiral in towards the center. (Source: Leonardo Flores, I ♥ E-Poetry)
Carolyn Guertin - 20.06.2012 - 22:42
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Fields of Dreams
This literary game which can be equally used to create prose and verse is a tribute to the Surrealist parlor game known as the “exquisite cadaver” and the paper-based Mad Libs created by Roger Price and Leonard Stern in 1953 (for more details, read Montfort’s introduction to the Literary Games issue of Poems that GO). This program originally created in Perl allows people to create texts and tag words to become “dreamfields.” When someone blindly fills in the dreamfield, it reconstructs the text with the reader’s input. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 16.10.2012 - 15:38
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Hobo Lobo of Hamelin
This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène. (Source: Leonardo Flores, I ♥ E-Poetry) This digital broadside adapts the story and setting of the medieval Pied Piper. A mixture of European folktale, political satire, and internet snark, Stevan Živadinović’s Hobo Lobo of Hamelin is one of the first examples of digital sequential art to make use of parallax and limited animation.
Scott Rettberg - 01.12.2012 - 13:11
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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
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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
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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
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Gorgeous Oaks
This poem’s title visually suggests a decayed sign that forms a new word from its remnants “GorOak,” echoing Tom Phillips’ title for A Humument. This is a key strategy for the poem, which sends a wandering eye through a dilapidated trailer park where empty spaces and gaps are as much a part of the text as what is overtly stated. The interface is an overhead map of a trailer park, with links mapped as hotspots that a reader can click on to bring up tercets which depict vignettes and images of life in this desolate place.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 10.02.2013 - 21:58
