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1. pianographique

   "pianographique" is a "multimedia instrument" created in 1993 on CD-ROM and made available on the Web in 1996 by a French webarts collective. "pianographique" is a work of "programmatical literal art," a term coined by John Cayley. Letters are "literal" here: they tumble and morph automatically, and they can also be manipulated on occasion by the reader-interactor and/or generated by the program. The user of this work is presented with a keyboard on the screen that corresponds to the keyboard beneath her fingertips. Each letter of the user's keyboard, when pressed, produces a distinct sound score and an animation that can be displaced by the hand of the user working a mouse. Playing the "piano" of graphics and sound bites, the user can create an infinite number of verbal visual-aural collages, while hitting the space bar effaces all that has come before.

   Scott Rettberg - 16.06.2012 - 13:31

2. Sonne Ordklip

   "Netudstillingen SONNE ORDKLIP er delt op i 14 serier, hvoraf nogle er tematiske eftevanlige egensindigt encyklopædiske principper, mens andre mere direkte flugter langs et enkelt, gennemgående klip-ord, følgende står fast: DK-KULTUR-SOC, EGO-PSYK, GA, LITT, ZOO, ORD, BØ, BØRN, LIG, UD, SPROG, KUNST, MAD, LYRISK NATUR Det er tekster - eller hvad man nu skal kaldet det - der i deres insisterende overstadige leg med sprogets betydning og visualitet ikke kender deres lige i nyere dansk poesi. Vi skal helt tilbage til de gode, gamle dadaisters collager og montager - Kurt Schwitters’ f.eks. - for at finde konkurrencedygtige paralleller." - http://www.afsnitp.dk/aktuelt/10/sonneordklip.html

   Melissa Lucas - 28.09.2012 - 13:33

3. The Assimilation of Text by Image

   Jhave's wide-ranging history and prospectus alerts us to cognitive, material, and mythic dimensions of the nexus of image and text. By showing how text evolved into image, the essay traces a new malleability, dimensionality, and embodiment of writing. The contemporary image-text is a quasi-object with experimental literary qualities as well as an almost organic media dynamism.
   (Source: ebr Electronic Book Review)

   Eric Dean Rasmussen - 09.10.2012 - 11:04

4. Poetics and Visuality: A Trajectory of Contemporary Brazilian Poetry

   Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as intersign poetry (collage, package, montage poetries), a movement that has drawn international attention. (Source: publisher)

   Luciana Gattass - 16.10.2012 - 21:03

5. 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

6. Free Haiku!

   This “reactive” (a.k.a. responsive or interactive) poem does an admirable job of representing the haiku in digital media, much like “Basho’s Frogger” by Neil Hennessy. Built upon a looping image of a drawing of a tree changing through the seasons, while a stick figure walks across the screen representing its shifting mood through body language. As the reader moves the pointer on the screen, different words emerge, allowing for the discovery of different phrases, depending upon one’s mouse movements. Juxtaposition of images and a connection to nature along with the speaker’s “posture” towards the material are all represented in this brief poem. The question of the title remains: is this a “free haiku” because it is offered gratis or because it has somehow been liberated from convention? Both readings are plausible, given the politics and poetics of Dada.

   (Source: Leonardo Flores)

   Helene Helgeland - 25.10.2012 - 13:12

7. worm applepie for doehl

   While concrete poetry in print combines linguistic and graphic qualities of words, in digital media time and interaction are two additional ways of expression. Words can appear, move, disappear, and they can do this all in reaction to the perceiver’s input. [...] If a still can progress into a movie, the worm of course can eat the apple as in Johannes Auer’s digital adaptation worm applepie for doehl.

   Source: Simanowski, Roberto. "Concrete Poetry in Analog and Digital Media."

   Johannes Auer - 05.11.2012 - 12:58

8. Poetic Transformations in(to) the Digital

   In our contribution we will discuss some projects in the field of digital poetics which transform or recreate poetic pre-texts that were not conceived for the electronic space. Our interest is to focus on the question of the site of digital poetics, i.e., on its discursive or systemic affiliation. These projects of transformation imply a justification: We derive digital poetics not primarily from theories or discourses of information and communication technology or the digital media culture, but from theories and histories of poetry and “language art” itself. While doing so, we do not ignore that electronic or computer poetry is turning problems of the actual media and technological culture, as well as its theoretical description, into poetological and artistic categories and categorization. The perspective on art itself means, quoting from Loss Glazier (2004), “Siting the ‘poetry’ in e-poetry, which means to read digital poetics against its poetological and historical background.” The examples that will be discussed refer to the tradition and evolution of language art by means of intertextuality.

   Johannes Auer - 05.11.2012 - 17:56

9. Ouroboros (aka. Uróboros)

   Ouroboros is a visual poem whose words are surrounded by the connection wire of a computer. It associates words and image of the cyberculture. "Ouroboros" is the metaphor of the ouroboros, a circular symbol of a snake or dragon devouring its tail, standing for infinity or wholeness, which starts to represent the connections of the human beings to the world of the computer science, therefore, an electronic uroboros.

   (Source: Jorge Luiz Antonio)

   Luciana Gattass - 08.11.2012 - 16:15

10. Oslo Screen Festival: Interview with Ottar Ormstad

    Before when was created, LYMS was screened. An interview with Ottar Ormstad about his work and artistic influences.

    Patricia Tomaszek - 18.11.2012 - 13:23

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