Search
The search found 112 results in 0.01 seconds.
Search results
-
Dear e.e.
This whimsical poem invokes one of the masters of idiosyncratic poetry, E. E. Cummings. Cummings used capitalization, spacing, punctuation, letters, and words in very unconventional ways to craft off-the-beaten-path poetic experiences. The speaker’s dream taps into this idea, by having e.e. rearrange the furniture in counter-intuitive ways. A simple interface for navigation from side to side presents different items of furniture, which reveal texts and brief animations towards new images when the reader places the pointer over them. Perhaps this is a metaphor for Cummings’ poetics, who rearranged letters and words to lead to new perceptions of ordinary things.
(Source: Leonardo Flores, in I ♥ E-Poetry)
Scott Rettberg - 18.10.2012 - 13:51
-
London Eye
London Eye
Scott Rettberg - 18.10.2012 - 15:12
-
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
-
Ghost City
Ghost City is a website that focuses on the representation of the city by the mass media. It uses the space of the web as a sculptural space, allowing viewers to interact with animated graphics to delve deeper and deeper into an imaginary city.
Ghost City is a labyrinthine environment through which viewers can navigate, either following the linear narrative that unfolds by moving from page to page, or they can delve into the non-linear chaos of random links. Each space is made up of appropriated images and texts. The images are culled from various print media sources. The texts are either found passages from urban theory or specifically written poetic musings on the city.
Scott Rettberg - 20.10.2012 - 15:06
-
Disembodied Voices
Disembodied Voices
Scott Rettberg - 20.10.2012 - 15:17
-
Mondrian Mood
Inspired by and built on Piet Mondrian’s artwork, Eric LeMay writes a poem that reacts with the surface it is written upon. Different sections in the painting and color are used to structure lines of verse, in a way that represents two voices in conversation. One of the voices wants a heron in the work, while the other one is more concerned with the aesthetics of De Stijl, which don’t leave much room for natural elements, such as herons. The poem uses a restrained sense of humor to create play between meanings of words (such as “eye” and “I”), abstraction and representation, and the senses used to experience the rich textures of Mondrian’s paintings.
(Source: Leonardo Flores)
Helene Helgeland - 29.10.2012 - 15:14
-
Broken
This poem is constructed around an erotic scenario between two recurring characters in Sondheim’s writing: Nikuko “a Russian ballet dancer” and Dr. Leopold Konninger. From the loading frame in this Flash piece, we are provided a point of view as if we’re the computer and are about to enter Sondheim’s imagination, and the audio doesn’t set this up as a comforting prospect. The poem seems to be designed to disturb as images of fragmented, objectified human beings gaze at one from positions of powerlessness and empowerment. Nikuko herself is portrayed as a kind of geisha dominatrix, particularly when juxtaposed with Dr. Konninger’s post-coital supine body. Subsequent images of a pile of heads and body parts and phrases like “carnage and extasy” create an unsettling mix of death and “la petit mort.”
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:39
-
I Love You
This poem is structured as a cloud consisting of language and sail-shaped figures. This complex set of objects contain the sentence “I love you,” “my love,” and “I will love you forever” in several languages, colors, and positions and responds with rotation along different axes depending upon the position of the pointer on the screen. The spherical shape of the rotation along with the translations of the sentence gesture towards its universality. If this were to be dedicated to someone, it delivers a message of a love that will express itself no matter where the pointer— the symbolic presence of the reader in the text— is moved to.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:48
-
Nomad Lingo
From April 1, 2000 to April 1 2001, David Jhave Johnston launched his career as a digital poet with a year of poetry experiments using Flash. Titled “Nomad Lingo,” he published several e-poems every month— producing a treasure trove of works that attest to his raw talent, whimsical style, and the ability to create a lyrical voice through lines that are both sensuous and theoretically engaging.
Some aspects he experiments with is how kinetic language and pacing can evoke different meanings and shape tone. For example, the flame-like words in “Watching Fire” is so much more relaxing than the frantic “Me Critters.” Similarly, the lines in “Ceaseless,” while fast-paced, are readable and put reader’s at ease, while “Flood” overwhelms the reader with its accelerating pace and movement. He also works with minimalist interactivity in “Irreconciliable” and “Tsunami” by making the letters and lines respond to mouseovers to reveal other texts.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 15:01
-
For the Moon
This ode to the moon is written and visually designed to underscore the cyclical nature of the moon’s stages. Using Quicktime VR on a 245 pixel wide circular strip, the view of this work is like being inside a ring and you rotate (or does it rotate?) to see its entire surface. The lines and stanzas in this poem have been arranged on this surface, spaced and indented in relation to one another to create a primarily horizontal visual progression. On the top and bottom of the strip are the stages of the moon, the way you’d find them on a calendar, signaling the passage of time as one reads this poem. The words also signal the passage of time as the speaker discusses her relation to the moon as an oracular companion in the skies, whose stages of dress and undress, bloatedness and thinness, continue to frustrate “lifetimes” of expectation.
(Source: Leonardo Flores)
Helene Helgeland - 13.11.2012 - 18:05
