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Carving in Possibilities
Carving in Possibilities is a short Flash piece. By moving the mouse, the user carves the face of Michelangelo's David out of speculations about David, the crowd watching David and Goliath, the sculptor, and the crowds viewing the sculpture.
(Source: author's description in ELC 1.)Eric Dean Rasmussen - 18.04.2011 - 13:28
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Strings
The author quotes Jim Andrews's description: "Strings is a playful series of Flash pieces about relationships. It also raises questions about the presence/absence of the hand in this medium. Visual artists often criticise the lack of presence of the hand in digital art. In Strings, the hand is and is not present, is transformed, is transforming, is writing, is written, coded. Tis morphed." (Source: Author description, ELC, vol. 1).
Eric Dean Rasmussen - 28.04.2011 - 14:40
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Landscapes
Landscapes presents five animated canvases which together comprise a dreamscape of anarchic play, urban order, and media saturation. Each landscape pairs a short Biblical proverb with a series of images taken from street protests, multimedia conferences, Hollywood films, and other private and public sites. The proverb in each of the landscapes scrolls on a loop across the screen and is "locked" in position behind a viewing portal. To read the proverb is to make do with the fractured characters visible through small holes in the portal.
(Source: Author description, ELC vol. 1).Eric Dean Rasmussen - 11.05.2011 - 09:16
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ii — in the white darkness: about [the fragility of] memory
Strasser and Coverley's visual poem is a multimedia meditation on the nature of memory. By choosing pulsing dots as if from behind a veil, the reader activates collages of photographs and ambient sounds, representing the process of trying to recover lost memories, which surface and fade in and out of intelligibility.
Scott Rettberg - 06.10.2011 - 10:36
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Jean-Pierre Balpe ou les Lettres Dérangées
Jean-Pierre Balpe ou les Lettres Dérangées was created as a homage to the poet and software developer Jean-Pierre Balpe. The title of the piece can be understood in a number of ways. In French, the word "letters" refers to the alphabet, mail correspondence, and also to the art of writing itself. The piece consists of a number of letters which are not all visible to the reader until the very end. The word "dérangé" has a number of meanings as well. One meaning is physical disturbance. The letters themselves are distorted, just as the meaning of letters and words became distorted when Balpe introduced the literary world to text generation. The word also means mental disturbance. Disturbed by the mouse passing over them, the letters unpredictably go in all directions without reason. The underlying algorithm brings the letters to madness. The actions of the reader turn the poem into a kind of game. The purpose of the game is to get to the end of the poem by playing with the letters without falling into any traps.
Eric Dean Rasmussen - 08.11.2011 - 14:56
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Look, here she lies (Kijk, hier ligt ze)
Interactieve tekst met liggende letters over een zij die ligt en wordt opgetild door een jij die haar wegdraagt en ergens anders neerlegt waarop zij opstaat, terugloopt en weer gaat liggen enz.
De woorden worden alleen leesbaar als een speciaal cursorhandje de letters overeind duwt, op die manier krijgt de lezer/kijker een zelfde soort rol als de jij uit de tekst.David Prater - 09.11.2011 - 14:03
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Errand Upon Which We Came
In "Errand," animation is used to establish links and disjunctions between images of moving objects in the natural world (e.g. frogs and butterflies) and the lexical and figural dynamics of the poem. These visual-kinetic images heighten the tensions among the meaning—mobilizing acts of "seeing an image," "watching a movement," and "reading a word." The work also employs cursor-activated elements, such as "touching" and "reading." "Errand" reflects on the nature of language and of reading, and these self-reflexive elements are embedded in considerations of how protocols of reading shape our consciousness.
(Source: Electronic Literature Directory entry by Patricia Tomaszek)
Eric Dean Rasmussen - 26.01.2012 - 12:20
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While Chopping Red Peppers
Like the advice given by the speaker’s father, this kinetic and aural poem is all about “presentation and perfect arrangement.” It is about knowing where to cut visual and aural language, images and sound clips, arranging them on the poem’s space to make an impression. Yet while the speaker seems to be learning what her father has to say, one can sense the tension in her as she conforms to a vision of how one presents oneself and in what contexts. The masculinity of the images juxtaposed with the words “a firm handshake, after church” contrast with the more feminine figure we see leaning by the stove or hunched in silhouette. Listen to this poem and you’ll realize that it hovers in that space between tradition and innovation, expressive orality and through new media, conformity and rebellion, and different types of distance and proximity. (Source: Leonardo Flores, I ♥ E-Poetry)
Meri Alexandra Raita - 03.03.2012 - 19:29
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Walkdont
Part of his “Words in Space” series, this poem uses VRML to position two dimensional words in different three dimensional rotational axes and provides a minimalist interface for the reader to switch between two types of rotation or movement, signaling the change with an audible click.
The spiraling of the words around a central axis and around each other mimic the speaker’s thought process as he obsesses over what seems to have been a traumatic incident. If we extend the idea of word rotation to its static title, we could read it as “walkdont,” as “dontwalk,” or over time as “walkdontwalkdontwalkdontwalkdont” an idea reinforced by the use of color in three key words and phrases punctuated by the blue “Who knew?”
Source: Leonardo Flores, I ♥ E-Poetry.
Leonardo Flores - 11.03.2012 - 17:57
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Euclid
This VRML piece is a meditation on Euclidean geometry, matter, mortality, eternity and language in all of these contexts. It consists of two spaces, the first of which we experience as a movie that displays four stanzas, each of which expresses Euclidean elements: solid, plane, line, point. The next space is intriguing because it has the four words above, plus two more words, all surrounding a cube made of clusters of 2-3 letters. Navigate this space when the initial movie ends, seeing the different views, and you’ll get the point of what Knoebel is trying to express with this minimalist poem in a virtual environment.
Note: To be able to read this work, you’ll need a VRML client (Recommendations: PC: Cortona 3D Viewer, Mac & Linux: OpenVRML). Be patient: you aren’t able to explore from the outset, only after you’ve seen the views. Right click on the window for a menu of options.
Source: Leonardo Flores, I ♥ E-Poetry.
Leonardo Flores - 13.03.2012 - 12:30
