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  1. <? echo [THE_SIGNIFIER] ?>

    This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.

    Hannelen Leirvåg - 02.02.2013 - 12:19

  2. 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

  3. Lines of Life

    The poem is built from one or two words at a time, sometimes appearing as plain text in a small window, usually layered over a slightly larger pop-up window with images and animation. When language appears in the image-driven windows, it does so as an image: handwritten or drawn words, or bitmapped and transformed typed words.

    (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 19.02.2013 - 19:58

  4. NobodyHere

    A creative website that contains more than can be easily labelled as poetry, art, or narrative, though it certainly contains that and more. Launched in 1998, the site incorporates multiple Web technologies in very coherent fashion to create a hypertext of musings, anxieties, joys, searches for companionship, yearnings, and more navigable through interfaces populated by a variety of insects. Each page in this hypertext is a discovery: a thoughtful exploration of an idea through art, language, and metaphor. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 28.02.2013 - 20:07

  5. Orbital

    This poem is the result of two creative collaborations: Max Dunlop’s poem “orbital: a postcard to space travel” and Neil Jenkins’ generative engine that creates an entirely different experience of the work. A conceptual link is that of human communication across space. The idea of a postcard is very tied to travel, since they can be sent through a postal service anywhere on the planet to a physical address. This paper-based model of human communication doesn’t work well when people leave the planet, requiring technologies that work with electronic signals. During a time of digital networks, packets are still being sent from one address to another, but they are digital sequences sent to numerical IP addresses, translated into more natural language by DNS servers. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 09.03.2013 - 21:15

  6. 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

  7. 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

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