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1. Inanimate Alice, Episode 3: Russia

   This is a work of fiction told in verse, cinematically, and with video games about the coming of age of a girl named Alice. This novel— self-consciously labelled as such to evoke the original meaning of the term: a new genre— reinvents the genre in digital media for a generation portrayed through Alice.

   Even though Alice’s circumstances are atypical (living around the world with her oil industry employed father and being home-schooled by her artist mother), she is emblematic of a generation whose experience of the world is deeply interconnected with digital media. Her developing literacy includes programming her animated creation and imaginary friend Brad on a portable device that allows her to take photographs and videos, play games, search information, and symbolically be a part of her, containing some of her memory and identity. This device is the 21st century version of the journal or diary, in which an Alice from previous centuries would have developed her voice and identity through writing, drawing, painting, scrapbooking, and other multimodal forms of writing compatible with paper-based technologies. Curiouser and curiouser.

   Hannelen Leirvåg - 10.02.2013 - 15:03

2. Letters Demand Things

   This suite of two responsive visual poems are inspired by typography and phonetics, and the poetics of Concretism and Lettrism. “Vowel Submission” seeks to discover letters physically discoverable by breaking off portions of vowels. The interface leads readers to probe the space of the poem searching for triggers that will break the rotating vowels into the consonants that lie within. “Typespeak” is the more interesting piece because it vocalizes the sounds of each letter without combining them into words. In other words, one can type a word, but it will play as a simultaneous set of individual sounds. He turns the computer’s keyboard into an instrument that plays verbal notes from Madsen’s vocal apparatus. The random placement of brief letter animations on the screen also resists any attempts at writing words, a very Lettrist move because it subverts attempts at creating meaning.

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

   Hannelen Leirvåg - 10.02.2013 - 15:34

3. Nine: Puzzling through Several Lives

   This poem is mapped onto a nine tile sliding puzzle, the kind that traditionally has a single image that one can scramble or unscramble. The interface for this is the same, but Lewis throws a curve ball in this piece: every time the reader moves a tile— perhaps with the hope of completing the image— the image changes. One set of images is a photograph of Lewis himself, and another is a kind of map, suggesting that if we could complete it, we’d see him or where he’s from. But identity isn’t that simple to put together, particularly in the case of someone with such a diverse ethnic background as Lewis. Keep this idea in mind as you read the text as you attempt to complete the puzzle— will you get closure from this piece by completing the puzzle or is this denied much like easy answers about identity are to Lewis? (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 15:50

4. Chu Ta

   This scheduled poem is built around a quote from James Elkins’ 1999 book, The Domain of Images, in which he analyzes the blurred boundaries between images and writing. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 21:33

5. Aufschreibesysteme Green ghost echo

   This piece is one of those rare examples of e-poems that exhibits the same textual behaviors as a print text— purely static— yet is created through such a creative engagement with the medium that it merits consideration as e-literature. Its visual design is evocative of both programming conventions (particularly the practice of numbering lines of code) and of green monochrome monitors. The numbering of its lines and stanzas, with two notable exceptions, obey a simple formal logic yet add programming texture and structure to the poem. The cluster of 10 lines beginning with “x01,” each of which is divided into four columns breaks the numbering pattern, simultaneously offering a visual structure that could be read as lines or columns. This is framed by two identically numbered 2-line stanzas (010801 & 010802) which contain different texts but are formatted on left and right hand margins of the window.

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

   Hannelen Leirvåg - 10.02.2013 - 21:41

6. Gorgeous Oaks

   This poem’s title visually suggests a decayed sign that forms a new word from its remnants “GorOak,” echoing Tom Phillips’ title for A Humument. This is a key strategy for the poem, which sends a wandering eye through a dilapidated trailer park where empty spaces and gaps are as much a part of the text as what is overtly stated. The interface is an overhead map of a trailer park, with links mapped as hotspots that a reader can click on to bring up tercets which depict vignettes and images of life in this desolate place.

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

   Hannelen Leirvåg - 10.02.2013 - 21:58

7. Riddles

   These three poems by Nick Montfort take an ancient literary and cultural tradition, the riddle, and brings them into the digital age by using CGI scripting to allow readers to guess the response without the riddler needing to be present. The poems provide a simple input cue: a text box where the reader can type in their guess and a button that submits that response to a script, which checks the answer for a match and sends a response, whether it was correct or not. This script was probably written in Perl, a programming language Montfort uses extensively, particularly in his “ppg256” series of poem generators. Part of the interest in this choice of scripting language is that he is able to keep the answer hidden from readers, even from those who like to take a peek at the source code (like me). It also means that he could design a riddle without a correct answer, enacting what Philippe Bootz calls “the Aesthetics of Frustration.”

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

   Hannelen Leirvåg - 19.02.2013 - 19:35

8. Stein Times Nine

   This fascinating poem is derived from Gertrude Stein’s poetry throughout her career and exemplifies the practice of what Kenneth Goldsmith calls uncreative writing. As he explains in his essay, Reed sought to map out a “landscape” of Stein’s practice, so he devised the following algorithm to generate nine texts from Gertrude Stein.

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

   Hannelen Leirvåg - 19.02.2013 - 20:13

9. Tacoma Grunge

   Based on Scott Rettbergs remix of "Toroko Gorge" by Nick Montfort, called Tokyo Garage.

   Hannelen Leirvåg - 28.02.2013 - 10:06

10. The Dark Side of the Wall

    This generative poem creates a mashup of lyrics from two famous Pink Floyd albums: The Wall and The Dark Side of the Moon. The poem is organized into tercets followed by a single line in which Waters or Gilmour “takes over,” signaling shifts in leading roles in the band, which has a history of turbulent power struggles. Each tercet is assembled from lines from each album, lending both coherence at the line level, and intriguing juxtapositions that reveal some of Pink Floyd’s poetics.

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

    Hannelen Leirvåg - 28.02.2013 - 10:12

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