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Les récits voisins
Recits voisins est le premier module mis en ligne sur oVosite. C'est aussi le plus complexe. Cet espace de lectures relie huit nouvelles autonomes en même temps qu'elles sont reliées entre elles par les destins croisés de personnages, associations poétiques ou élements naturels communs.
Cet espace a été écrit et conçu à douze mains, six corps et têtes, et repose sur près de quatre cent cinquante liens répartis dans mille deux cent fichiers. Plus simplement, il s'agit d'un hypertexte qui ne renie pas la linéarité narrative mais tisse des passages latéraux…
Luc Dall'Armellina - 1997
Scott Rettberg - 27.06.2013 - 13:13
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BEAST
BEAST. The Web fosters, and depends on, utter transience of attention. Extending television's effects through its much-vaunted interactivity, it has reduced writing to "content" squeezed between gaud and flash and irrelevance. In Beast, the reader directs the progress of a single text by interacting with it and its interior world of fake-3-D images. Beast tries to tap the interactive possibilities of the medium while allowing the text to be seen as a whole; the eye is a hypertext engine more sophisticated than any we could devise. But Beast also subverts itself through jarring messages and the system's periodic takeover of its own functions. A nightmarish, superficially dehumanizing system, Beast decocts much that is terrifying and unpleasant about computer technology, and about society and ourselves as the computer has built us. But this monstrosity has a humanizing core, the text, that speaks to the anxieties the system produces.
Scott Rettberg - 12.07.2013 - 13:34
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Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.
Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
mez breeze - 05.05.2014 - 12:45
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Si son sólo libros
Si sólo son libros by Marla Jacarilla, 2009, is a simple hypertext in which the author links 48 books by means of a screen that evokes an image, an illustration or a collage. A paragraph selected from the book completes the presentation. The list of volumes is dynamic and it moves around the screen and therefore, after a while, the access to a particular book is lost (Félix Rémirez, translated into English by Maya Zalbidea).
Maya Zalbidea - 17.07.2014 - 20:38
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El rumor de los álamos
Oscar Martín Centeno said "the aim of my videoprojections is to impregnate the audience with all the senses". El rumor de los álamos -The Murmur of Poplars- suceeds in reinforcing the poetic meaning with the expressive reading of the author, the relaxing piano music and the image of hands getting together in a liquid atmosphere, like if they were inside of a river in an imaginary forest in a memory or dream (Maya Zalbidea 2014).
Maya Zalbidea - 25.07.2014 - 14:02
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Les Descendants
“The Descendants” by Alexandre Gherban is a dynamic and “active” program with an indeterminate function. It varies in transiency, sometimes being transient and other times intransient; In other words, the aspects of the program (the text, the images, and the sounds) change and move constantly in a random, or indeterminate, function. Even if the text does not have a personal perspective, the viewer plays a role by choosing his/her path in the work. The reader can interact with the processes and find the links within the images. Only then do words reveal themselves. By clicking on the words, (“the descendants”, “the parents”, “who…”, “and who…”) the work changes and the viewer can interact with the images of the new page. For the page where one sees “the parents”, one must choose one of the two images that represent the parents themselves, and this choice determines the path for what follows. This function suggests a reference to artificial life. By starting with “the parents” that produce “the descendants”, the viewer sees a type of reproduction that resembles that of a family tree. By choosing the path of one parent or the other, the user has an exploratory function.
Claire Ezekiel - 08.09.2014 - 21:07
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Les Mots et les Images
Les Mots et les Images is a work by J.-M Dutey published in alire 5 in 1991. At first, one encounters a table that is divided in 21 smaller boxes. Here, there is a spatial idea that is introduced which Dutey wished to explore as seen in a quote from the work itself, “(Dutey) voudrait que sa poésie explore les espaces qu’elle occupe et ceux qu’elle suggère.” This quote expresses an exploratory desire because one has to click on the words on the screen to begin the program. If one chooses not to click, then nothing will happen. It is up to the user to explore the work, whether that is limited or full exploration. This seems to give the user a sense of control, yet when one chooses to begin; the control is replaced by a feeling of being lost in the connections between the words in the smaller boxes.
Sergio Encinas - 23.09.2014 - 03:27
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Scriptpoemas
Scriptpoemas (2005-) is a collection of poems or “poemas” which is still being written by Antero de Alda. He was described by Rui Torres as an explorer of “new paths for computer-animated poetry” (Torres, 2008). These short and (apparently) ready-to-consume poems were created using Flash, Javascript and ActionScript and they often enact the activity or attribute described in their title. Each poem seems to convey the literal meaning of the words used to describe them: the “poem in prison” is presented behind bars, the “spherical poem” can be described as a round object. However, as soon as the poems are activated by the reader, new details begin to surface. Antero de Alda makes use of the digital environment to uncover the many faces of a poem and the evasiveness of language. The arbitrariness of signs is, after all, widely explored by Alda in each poem. Nothing is what it seems and icons, concepts or famous photographs are defamiliarized and turned into traps designed to betray the reader’s senses.
Daniela Côrtes Maduro - 06.02.2015 - 23:57
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A Certain Slant of Light, Typographically Speaking
A Certain Slant of Light, Typographically Speaking is a blog post that chronicles the process of creating a piece of electronic literature from prompt to product. The project took the Emily Dickinson poem “There’s a certain slant of light…” and rearranged the words into a drawing, inspired by the poem. What makes this piece of electronic literature especially interesting is that this is my first attempt at e-lit! I documented the discovery process on my blog Some Science in a nod to the digital humanities; to show how using electronic tools creatively can produce and inspire art. (Source: Gallery of E-Literature: First Encounters)
Magnus Lindstrøm - 12.02.2015 - 14:19
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Postmodern: An Anagrammatic Slideshow Fiction
Richard Holeton’s gleefully, not to say Gaudi-ly, illustrated glidepath through the remnants of language that trail beyond the (littoral, literal) “postmodern” like the tail of a forlorn freeform comix comet, manage—as the Oulipo poet Michelle Grangaud might have said in her own Formes de l’anagramme à faire plusieurs fois des Temps rondo, in an eschatological imagetext mashup of demon storm troops, pert rodents, and skidrow resident poets, porn purveyors, and sperm donors via Flickr borrowings, Wiki burrowings, and whole tons of homebrew images bluesily rendered ala twerk.
(Source: Vassar Review introduction)
Richard Holeton - 20.04.2018 - 09:17
