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Poemas no meio do caminho
This is a combinatory text. There are two versions of the text – two ways of reading it: horizontally and vertically. Both versions allow the reader to save her own textual production, and then to send that production to a weblog. The reader can recombine the text according to the paradigmatic axis of language: the reader selects, the machine morphs/combines. However, some “obligatory” options resist. By quoting Dante, Poemas no meio do caminho is a metaphor of the reading practice: “poemas no meio do caminho da leitura” (“poems midway upon the journey of reading”). It suggests an ephemeral poetic construction that appears and vanishes in a click. On the one hand these poems destroy the sacredness of the poetic language; on the other they realize the poïesis.This work has won (ex-aequo) the 4t Premi Internacional "Ciutat de Vinaròs" de Literatura Digital.
Patricia Tomaszek - 13.01.2011 - 17:49
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True North
This description comes from Rebooting Electronic Literature Volume 2:
Stephanie Strickland's True North came out in 1997 in two formats. First, it was published as a print book of poetry by the University of Notre Dame Press and won––that same year––the Poetry Society of America's Alice Fay Di Castagnola Award and the Ernest Sandeen Poetry Prize. It also appeared as a hypertext poem released on floppy disk for both PC and Macintosh computers by Eastgate Systems, Inc. As Strickland states in her “Prologue,” work on True North began in 1995 at N. Katherine Hayles's National Endowment for the Humanities Summer Seminar but originally was conceived over a decade earlier when, influenced by the writings of Simone Weil, she developed an interest in finding a woman’s language.
The editions and versions include:
Print Edition
Jill Walker Rettberg - 14.01.2011 - 12:11
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À bribes abattues
L’œuvre de Philippe Bootz « À bribes abattues » est bien nommée parce que chaque poème animé utilise les mêmes mots jusqu’à ce que leur signification soit abattue. « Bribes » fait référence aux mots individuels qui jouent sur l’écran, mais aussi aux lettres dans les mots qui changent de façon indépendante pour changer la signification des mots et des strophes. Le titre est aussi un jeu de mot avec la phrase « à bride abattue » qui veut dire « à toute vitesse. » Le lecteur choisit quelle œuvre il va « lire » (entre guillemets parce qu’on fait beaucoup plus que lire ces œuvres, on en fait une expérience). Le choix nous donne la sensation de prise, mais en fait c’est un peu comme choisir un poème dans une anthologie. On ne fait que choisir l’œuvre ou la page ; on n’a aucun influence sur le texte-même.
Scott Rettberg - 20.01.2011 - 13:24
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Letter
A navigational poem that presents the viewer with the image of a three-dimensional spiral jetting off the center of a two-dimensional spiral. Both spirals are made exclusively of text. The reader is able to grab and spin this cosmic verbal image in all directions. Thus, reading becomes a process of probing the virtual object from all possible angles. The reader is also able to fly through and around the object, thus expanding reading possibilities. In "Letter" a spiraling cone made of words can be interpreted as both converging to or diverging from the flat one. Together they may evoke the creation or destruction of a star. All texts are created as if they were fragments of letters written to the same person. However, in order to convey a particular emotional sphere, the author conflated the subject positions of grandmother, mother, and daughter into one addressee. It is not possible to distinguish to whom each fragment is addressed. The poem makes reference to moments of death and birth in the poet's family. Letter is presented here as video documentation of an interactive reading experience.
(Source: Author Description)
Scott Rettberg - 30.01.2011 - 23:49
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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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oooxxxooo
Cycle of interlinked poems, combining ascii art layout with concrete, hypertextual poetry.
Jill Walker Rettberg - 02.02.2011 - 22:46
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First Screening: Computer Poems
A suite of a dozen kinetic poems programmed in Apple BASIC. Later, as the first versions became inaccessible, the works were recreated in HyperCard in the early 1990s (after bpNichol's death), and then in 2007 recreated in javascript for the web, and simultaneously the original BASIC and Hypercard files were republished for download.
Jill Walker Rettberg - 08.02.2011 - 21:04
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Spawn
Spawn is a mouse-responsive liquid poem that reduces its own language and content into chaos and symbols.
Eric Dean Rasmussen - 11.02.2011 - 16:45
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V: Vniverse
V: Vniverse is a textual instrument for exploring a sequence of poems that also appear in a double invertible book. Navigation/performance possibilities provide a micro-texture of interplay between patterns and their activation, both within the alphabetic forms and in relation to the diagrammed constellations. Programmed all in its original frame, the piece gives the illusion of words moving directly in and out of the sky. Thus all the time resources of the piece go toward responsiveness and production of language, rather than visual display. Here space is fashioned to amplify the sense of resonance that internal timings create.
(Source: Author's description)
Eric Dean Rasmussen - 18.02.2011 - 20:02
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Entre Ville
Entre Ville was commissioned in 2006 by OBORO, an artist-run centre in Montréal, on the occasion of the 50th anniversary of the Conseil des Arts de Montréal. J. R. Carpenter writes: "Although I had lived in Montréal for 15 years at the time of the commission, Entre Ville was my first major work about my adopted city. It took me that long to learn the vocabulary. I don’t mean French, or Greek, Italian, Portuguese, Yiddish or any of the other languages spoken in my neighbourhood. I refer, rather, to a visual, tactile, aural, sensorial vocabulary. My home office window opens into a jumbled intimacy of back balconies, yards, gardens and alleyways. Daily my dog and I walk through this interior city sniffing out stories. Poetry is not hard to find between the long lines of peeling-paint fences plastered with notices, spray painted with bright abstractions and draped with trailing vines.
Eric Dean Rasmussen - 18.02.2011 - 20:09
