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1. He Said, She Said

   This Webyarn frames an argument between husband and wife about having children. The wife wants to keep trying, while the husband doesn’t seem to want children at all. The piece is structured around a wedding: its imagery (cake, dancing, food), vows, institutions, and symbols. The surface of the text responds to the reader’s mouseovers, rewarding exploration by triggering multiple layers of language and musical phrases in short loops. The circularity of the wedding ring structures the poem as the argument goes round and round the topic, replaying sounds, images, words, and their movements. A small cluster of squares slowly gets colored in a non-linear sequence near the bottom of the window, suggesting the passage of time for this relationship, yet the questions continue throughout. Will this disagreement ever get resolved? The Buddhist touches interspersed between mostly Christian wedding vows suggest a way out of the endless cycle: the cause of suffering is craving and both characters have desires they could let go of.

   (Source: Leonardo Flores)

   Eric Dean Rasmussen - 23.04.2012 - 14:23

2. Archetypal Africa

   In this work, Bigelow takes everyday objects (stapler, chair, spoon) and elevates them to archetypal status through several strategies:

   * short, looping background videos (with audio) of natural scenes, usually focused on animals or plants, intercut with brief images of the object being discussed.

   * A poetic description of the object, using metaphor, personification, and other figurative language to highlight their function or role.

   * A scheduled set of fake historical events involving the object, often absurd and hilarious, including the location and the date in which they happened.

   This level of attention to everyday objects is parallel to Gertrude Stein’s Tender Buttons, but with a different approach to its language choices. While Stein chooses language that belongs to the same semantic frame of the objects she describes, Bigelow breaks (or blends) the frames to take a twist towards the absurd. These objects become archetypal because they are presented as tools that shape their creators as much as the world around them, connecting them to nature and humanity at a global level.

   eabigelow - 28.06.2012 - 03:41

3. Wired

   This video poem presents a nightmarish image of a body that seems to be inspired by Hellraiser and The Matrix. A sitting skeletal naked body with an umbilical-like cord connected to his heart and a screen for a face, inside of which a face grotesquely screams, apparently in pain or a trance (or both) seems to be the speaker for the poem. The verbal part of the poem is delivered entirely by audio, and through electronically distorted voices. The pain in the lyric cyborg speaker for this poem raises questions about medical technologies that artificially extend human life through painful surgical procedures that insert devices like pacemakers to regulate biorhythms. Has this character become posthuman?

   (Source: Leonardo Flores)

   Kjetil Buer - 31.08.2012 - 10:26

4. Rush

   Rush er en hyperfortelling bestående av skrift, bilde og animasjon. Skriften beveger seg over skjermen i et rolig tempo. Ved visse intervaller må leseren ta et valg som får konsekvenser for det videre handlingsforløpet. Samtidig er hyperteksten og de ulike veivalgene som leseren må ta, visualisert for leseren gjennom et kart. Hyperfortellingen viser fram det alvorlige og forpliktende ved de valgene leseren må ta. Og som leseren vil forstå, er det aldri noen ”second chance”

   Jill Walker Rettberg - 15.10.2012 - 12:04

5. The Quick Brown Fox (a Panagram)

   For this piece, Bigelow uses the most famous pangram in the English language, “The quick brown fox jumps over the lazy dog,” to structure a poetic narrative hypertext. Each letter contains a piece of a story about a relationship about to change, expressed by means of a poetic line that moves in meaningful ways over a brief looped video background. Not wishing to reveal more about the story, I will just say that Bigelow deftly maps the story onto the pangram several ways: chromatically, graphemically, allegorically, and cinematically. In the credits, he describes his role as “spun by Alan Bigelow,” an interesting choice of words in the context of his creative approach. Having read his delightful series of “Ten…” short list-essays on digital literature (positioned after the images in his site), and having read the credits to his works, I know that he uses royalty-free sounds, images, video, and occasionally language —modified as he sees fit— in the creation of his works.

   Scott Rettberg - 16.10.2012 - 15:23

6. Heights

   Heights

   Scott Rettberg - 18.10.2012 - 11:34

7. Lair of the Marrow Monkey

   Lair of the Marrow Monkey

   Scott Rettberg - 18.10.2012 - 15:25

8. abcdefghijklmnopqrstuvwxyz (iPhone app)

   abcdefghijklmnopqrstuvwxyz is a sound toy, a performance tool and an art work in its own right. You can play with the letter-creatures and watch and listen how they interact with each other or use them to produce soundscapes like you would with an electronic musical instrument. abcdefghijklmnopqrstuvwxyz blends art, biology, fun and physics to create a unique, dynamic and interactive sound ecology.

   This app is the result of joerg piringer's ongoing research of vocal sounds and their relation to dynamic typography in the form of performance, video and software art.

   (Source: Author's description)

   Scott Rettberg - 19.10.2012 - 13:58

9. Skogen

   Skogen

   Scott Rettberg - 03.11.2012 - 17:50

10. Delimited Meshings: a White Paper

    This hypertext work of poetry, theory, and narrative is exquisitely programmed in HTML 3.2 using JavaScript from 12 years ago, which means that it is currently best read in Internet Explorer, which retains its responsive elements. This DHTML piece uses JavaScript to modify the Document Object Model (DOM), which means that the document is the same, but once you activate certain parts of it, its rendering becomes modified with the addition of static or kinetic elements.

    Memmott uses it in this poem to create layers of visual and textual information that is revealed as the reader interacts with different prompts. For example, the section titled “Sorts” allows for the reader to reveal texts by clicking on different parts of the image, seen below.

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

    Scott Rettberg - 18.01.2013 - 22:54

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