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Fields of Dreams
This literary game which can be equally used to create prose and verse is a tribute to the Surrealist parlor game known as the “exquisite cadaver” and the paper-based Mad Libs created by Roger Price and Leonard Stern in 1953 (for more details, read Montfort’s introduction to the Literary Games issue of Poems that GO). This program originally created in Perl allows people to create texts and tag words to become “dreamfields.” When someone blindly fills in the dreamfield, it reconstructs the text with the reader’s input. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 16.10.2012 - 15:38
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Die Aaleskorte der Ölig
"Die Aaleskorte der Ölig" is a combination adventure with 20 scenes by Dirk Günther and Frank Klötgen which won the Pegasus Award of DIE ZEIT, the german prize for internet literature, in 1998. It is based on a short story with only one perspective. Before the adventure starts, the reader has a chance to participate by choosing the perspective for each scene. The five protagonists are the woman Ölig, Hohmann, a group of children and an eel. Afterwards the so called "movie" starts. Every scene has a different picture and text to describe the plot which changes based on the decisions of the user in the beginning.
Scott Rettberg - 19.10.2012 - 14:17
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Memoirs from Hijiyama
This exquisitely designed site contains poetry in several modes: in lines of verse, as visual poetry, and as an e-poem that responds to the reader’s symbolic presence in the text: the pointer. The site is conceptualized “as a grave” made of [web] pages, words “flung to the far corners / of the earth” (quoted from the site manifesto). Each page consists of images and words arranged and offer the reader two ways of viewing the composition: discover (which keeps links hidden for reader to explore the surface of the image for them) and unearth (which provides a sepia tone for the background and reveals the links in the text, along with useful labels for them). Verbally it is also a collage of voices: from the victims to the pilot of the Enola Gay, who delivered the bomb in Hiroshima. This work is a powerful memorial to those lost in Hiroshima (and by extension Nagasaki). Simultaneously fascinating and horrifying, factual and ironic, the work reminds us of the very human side to the event and its aftermath.
(Source: Leonardo Flores)
Helene Helgeland - 25.10.2012 - 12:41
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Tide-Land
Originally published in BeeHive 3:4 (December 2000), this poem maps human experiences, narrative, weddings, funerals, and memory onto the ebb and flow of waters in tidelands— those coastal regions where rivers flow into the sea. The metaphorical relations between tidelands and individual and collective experience, past and present, knowledge and intuition are enacted in the use of hypertext and layers. This layering of text and image makes some lines and words difficult to read, breaking with the tradition of sequential arrangement of texts to draw attention towards new juxtapositions and the blending of human experiences. The poem also references estuaries, islands, and water during high, low, and neap tides— lunar and maritime cycles presented as a female analog to the more masculine solar solstices and equinoxes that have received such archetypal attention. This is a work worthy of rereading and reflection to allow its language and images to ebb and flow in and out of your conscious mind.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 14:25
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The Ballad of Workstudy Seth
This Twitter based netprov collected under a title headed by the word “ballad” provokes thought on the relation between this fictional piece and this ancient poetic form. The ballad, a form rooted in oral tradition, was often about sensational, comic, and tragic events and served as a conduit for stories from one region or time to another. With the invention of print, the broadside ballad reinforced the tradition of spreading news in poetic form. The fictional narrative of Workstudy Seth and how he took over Marino’s Twitter account was told during a 3-month period in 2009 and is compiled in a single HTML page— kind of a Web broadside. The language, though prosaic and loaded with netspeak, is governed by a 140-character per Tweet constraint, which leads to a poetic compression similar to that which governs many lines of verse. Sure, its meter isn’t governed by number of accents, syllables, or feet but it does have a shape, which leads to distinct ways to unfold the story. Read each distinct voice as it shifts from one character to another and enjoy how the mischievous Seth refuses to be silenced.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 14:56
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Spring Day Notation
How does one attempt to capture the experience of being out in nature, surrounded by hills, trees, flowers, grass, sky? About a century before this poem, Imagist poets took on the same challenge, using compressed language to recreate sensory experiences, usually from nature or art. William Carlos Williams’ masterful final book, Pictures from Brueghel (1962), modernized ekphrastic poetry by evoking even saccadic eye movements as one looked at a Brueghel painting in his free verse. Judy Malloy uses humble Web 1.0 tools, such as frames, font colors and sizes, background colors, and the meta refresh tag, along with tactical placement of poetic lines and precise scheduling, to insert us into a space and create a vivid landscape one image at a time.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 15:09
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Alone Engaged
Alone Engaged is one of several works that uses Nick Montfort's code structure for Taroko Gorge. Alone Engaged was written during the fall 2011 in Atlanta, Georgia, USA.
Maria Engberg - 13.11.2012 - 16:01
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Hobo Lobo of Hamelin
This comic strip narrative in prose and verse reinvents the story of the Pied Piper of Hamelin, but with a character called “Hobo Lobo.” Reimagining the comic strip using Scott McCloud’s notion of the “infinite canvas” the comic goes beyond the traditional implementation of a two-dimensional strip. The innovative aspect is that he uses layers to produce a three dimensional parallax effect when the reader scrolls and rethinks the panel by centering layers on adjacent segments on the strip, as he explains in his Parallaxer tutorial. The effect of these layers and panel transitions enhances narrative continuity in panel transitions by replacing the comics gutter with the more cinematic mise-en-scène. (Source: Leonardo Flores, I ♥ E-Poetry) This digital broadside adapts the story and setting of the medieval Pied Piper. A mixture of European folktale, political satire, and internet snark, Stevan Živadinović’s Hobo Lobo of Hamelin is one of the first examples of digital sequential art to make use of parallax and limited animation.
Scott Rettberg - 01.12.2012 - 13:11
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Trilogy
My work with visual narrative has included installation form, book works, diptychs and billboard presentations. Using the web has allowed me to continue to expand my preoccupations with constructing rules for reading, methods of pacing and continue to explore image/text relationships. I am interested in the space between language and image.
Trilogy is comprised of 3 image/text narratives whose themes are concerned with survival. Locale and characters are suggested by cropped fragments from mass media imagery as well as map fragments. While the images may allude to time period by photographic style or content, their function (protagonist, action, location) is directed by the text.
Trilogy is a collaboration with Los Angeles fiction writers Rod Moore and Katherine Haake, both of whom have allowed me to reconfigure their texts.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 21:10
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Formes libres flottant sur les ondes
As a writer, I've always had a deep interest in the relations between words, and images. To me, they are the two members of an original sign which by itself was able to give things their meaning. Using the web authoring tools that makes mixing words and images easy, we can try to find this first means of representation again. But quickly this reasoning becomes invalid. We will never find this original sign again. We are, on the contrary, living in a world where words have been deprived of their power to name things by the abundance of images. This generates a misfortune that can be read in my Formes libres flottant sur les ondes.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 20:48
