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1. Oppen Do Down

   In the year 2000, Jim Andrews went through a significant retooling by shifting to Macromedia Director— an authoring tool that publishes content to the Web in Shockwave format, still easily accessible through its browser plugin. One of the benefits of Director was that it gave him a powerful set of tools to work with audio, allowing him to return to an early passion for radio and audio that led him to become a poet who engages media. “Oppen Do Down” is one of his sound-centered poems (what he calls “vismu”) and it is full of his voice: recorded, shaped, looped, attached to verbal objects, and presented to reader/listeners to select, combine, stack, and enjoy. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 01.02.2013 - 14:58

2. Enigma n2

   In this poem, Andrews returns to the question of what is the meaning of language in digital media (as he posed in “Enigma n” 4 years earlier), this time drawing attention to the materiality of its sound rather than its visual information. When played continuously from start to finish we can hear a slightly manipulated recording of Andrews’ voice saying “meaning” three times with different tone and enunciation. The visual information in this poem is the audio waveform for the recording- an important interface to manipulate audio files in audio editing software, such as Audacity (free, open-source, cross-platform software— I recommend it). The neat thing about this poem is that it randomly selects a starting point in the waveform and a width for a selection area, automatically playing that loop a random number of times before jumping to a new random location and width (or shall I say duration?). The reader can select where to go, but not the other variables, drawing attention to words, letters, spaces between words, and even phonemes. Is there meaning in sub-phonemic pieces?

   Hannelen Leirvåg - 02.02.2013 - 13:35

3. Jig-Sound

   A work that explores interactive audio.

   Hannelen Leirvåg - 02.02.2013 - 13:45

4. Four Poems

   Published the same year as New Digital Emblems (2000), these four short kinetic poems read like subverted graphic design experiments. The bright monochromatic, textured, shaded, or divided backgrounds contained by a borderless window serve as a stage into which words move in from several directions to form and develop the poems. The electronica inspired sounds punctuate moments in each poem, such as the apparition of words or the twist at the end of “Nil,” also emphasizing the rhythm of the scheduled presentation. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 20:00

5. Rude Little Song

   This aural piece is a kind of Lettrist sound poem, because it uses verbal language in sub-morphemic units (with thanks to Melissa Lucas for the term). In other words, the poem is concerned with putting together snippets of vocalized language sounds that don’t carry semantic meaning, all performed a capella, recorded, edited, and spatially arranged by Jim Andrews. The visual composition is as non-referential as the sounds, activated by moving the pointer over the pulsating colored squares. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 21:25

6. A Dialogue Between Two Eyeballs

   This kinetic poem is takes the ancient rhetorical and poetic device of the dialogue to investigate the virtual, conceptual, and perceptual spaces of programmable media. Inspired by theoretical writings by John Cayley and Jean-François Lyotard, this poem explores binaries between past and present, old and new, letter and word, simple and complex writing surfaces, and the right and left eye— each of which has a distinct voice and perspective on the topic. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 13:14

7. Toward a Circulation of the Page

   This kinetic collage poem is built out of text by Soderman and quotes from eight pieces written by theorists and writers whose work reflects upon the nature of writing in spaces other than the printed page. Cut into lines and blocks of text, each of these textual portions are anchored or set adrift in a “page_space” designed by Soderman to allow them to move and rearrange themselves into new textual combinations. In addition to encouraging readers to click on texts to get other quotes from the same source, Soderman places several objects into the space that trigger different events, such as a book that stops the textual movement when clicked. The behaviors triggered by each of the objects remind the readers of how configurable the space for digital writing can be by enacting some of the concepts brought forth by the quoted writers. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 13:34

8. The murmur of i n t e r s t i c e s

   This is a collaboration across centuries between the 13th century Persian mystic and poet known as Rumi, whose silky lines of poetry appear beneath Zahra Safavian’s 3 by 3 grid of tiles with short looping videos and words— an interface for meditation on this poem’s idea. Rumi is credited with inventing the meditative poetic practice of “the turn” by dancing to the rhythm of the hammering of the goldsmiths. Rumi’s poems are usually organized into couplets, not necessarily rhyming, clustered into variable stanzas, and tend to establish a conversation between self and other, self and the world. Each tile can be clicked to reveal another word and video, representing perhaps some of the dualities expressed in the concept of the “turn,” though we are not dealing with binary opposites— the associations are more diverse than that. The three lines that appear after interacting with the short videos on the grid reinforce that idea, separating awareness of the head and the feet, each turning on its own, uncaring what the other does, as with a baby nursing.

   Hannelen Leirvåg - 28.02.2013 - 20:28

9. Dans la gueule du loup

   This responsive (or “reactive” work as described in Megan Sapnar’s essay “Reactive Media Meets E-Poetry”) is a great example of a work that reacts to user input, though I’m not sure there’s enough of a language base to connect it to poetic tradition. Translated as “In the lion’s mouth” (though I feel “In the wolf’s mouth” is more accurate) this feels more like a visual art piece than a poem and I suspect Clauss would agree, since he describes his works in Flying Puppet as “tableaux interactifs” (interactive tableau). Regardless of classification, this is an engagingly atmospheric piece that invites interaction with a surreal payoff. Move the pointer and play with this work to discover what lies above and beneath the image and interface, considering all the layers involved. And don’t forget that you are one of those layers… (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.04.2013 - 17:17

10. 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

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