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1. 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

2. Ghost Moons

   A kanji-ku based on the character for ‘moon.’

   Scott Rettberg - 07.01.2013 - 15:48

3. Peter's Haiku Generator

   This Javascript program generates either haiku or tanka, as you prefer. The poems normally adhere strictly to the syllabic contraints of those forms, though occasionally the program will determine that its creativity cannot be so fettered, and it will produce a poem that breaks the rules. If you're presented with a 27 syllable haiku, count yourself lucky - it doesn't happen often.

   (Source: Author's description on the project site)

   Scott Rettberg - 08.01.2013 - 21:35

4. hektor

    hektor is one of the main characters in the non-aggressive narrative - a mode of Benjaminian storytelling. The NAN proposes the "continuation of a story which is just unfolding." I use digital and traditional media to create encounters between an ambiguous 'I' and potential 'You.' By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this unfolding 'past,' and its openness suggests possibility and multiplicity. In a 1965 interview with Michael Kirby, John Cage said that theatre is not done to its viewers; they do it to themselves.

   Scott Rettberg - 15.01.2013 - 21:08

5. 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

6. <? echo [THE_SIGNIFIER] ?>

   This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.

   Hannelen Leirvåg - 02.02.2013 - 12:19

7. MetaGenesis

   Organized by the Genesis narrative into 7 parts, one for each day, this work places the Biblical story of the creation of the world in conversation with modern times. Its sociopolitical tone is reinforced with references to literary characters, postmodern theorists, scientists, wars, the Internet, and civil rights leaders. Each piece contains a small Flash animation or interactive piece, some of which are clearly e-poems. These are the most delightful parts of this work because they manage to be playful without compromising the tone of the poem, a strategy echoed throughout this whole work. Thuan strikes a delicate balance between solemnity and tongue-in-cheekiness that lowers our guard so the seriousness of his piece can come through to us. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 12:33

8. Days of JavaMoon

   This hypertext work interconnects the moon with women, sexuality, Tantric texts, ancient folk medicine, and JavaScript. Yes. JavaScript. And it works because it aligns computer scripting codes with ancient algorithms: in this case, recipes and potions for psychological and sexual male enhancement. The scripting language displayed in some of the lexia is readable for those with some code literacy, and can be followed along by most, since it contains abundant natural language. Gender politics feature prominently in this work, touching on themes of sexual abuse, homosexuality, sexual enhancement, ancient recipes for gaining power over women, penis enlargement, modern ways in which women have low self-esteem, religion, and more. The audio component is in Realplayer format, a plugin that can be annoyingly commercial, but the experience is certainly enhanced by the light touches of music and sound in this piece. This piece has some random and interactive elements, and is therefore worth exploring several times to get a sense for the whole. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 02.02.2013 - 12:38

9. a as in dog

   This delightful sequence of minimalist concrete poetry is an homage to Bembo’s Zoo and Anipoemas is the result of a creative collaboration in which the technical and the conceptual become truly interconnected. Its minimalist aesthetic includes technical aspects like producing it with animated GIFs— an early Web technology for animation— and keeping font sizes close to 12 points, and using the Courier New font, which is simpler and Web-friendlier than Bembo. These creative choices are designed to make readers pay attention to the text, as well as emphasizing the minimalist graphics in which just a few pixels can make a huge difference. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 17:34

10. Moment

    This is a generative poem you can visit for years and continue to find things to surprise and delight. It is structured around a text— aptly named as “a strand” (as in a fiber or rope made of letters or characters)— which is shaped by “aspects,” which are programmed structures that shape and transform the strands through color, animation, scheduling, formatting, and other transformations possible in DHTML. Considering there are 10 “strands” (plus a “user-fed strand”) each of which can be shaped by 36 different “aspects,” each of which can have multiple controls and toggles, you don’t have to do the math to realize that this is a work of staggering generative possibilities. Combined with a few randomization and combinatorial touches, this is a work that will always welcome you with fresh moments, inviting you to play with its structures. (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 08.02.2013 - 19:24

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