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1. 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

2. 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

3. Weave

   This hypermediated hypertext suite of poems make excessive use of background images, animated GIFs, and messily redundant code to render them deliciously unreadable and inviting. Bell weaves a dense mesh of lines, background images, and code to produce surfaces that are difficult to read at times, making us wonder if he’s aiming for felt rather than the finely stitched fabric of verse. Bell’s lines are witty and full of wordplay, non-repetitive reiterations, alliteration, and an inviting awareness of his strategies and questions. Follow the links to discover many other poems, in some of which he has the design audacity of using animated GIFs as background images.

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

   Hannelen Leirvåg - 10.02.2013 - 22:23

4. The Body Politic

   In this multimedia hypertext poem, Ley foregrounds some ways in which the body is constructed and politicized. Using the HTML select tag as a way to structure lines of verse by hiding them under the first line of the stanza, she reinforces the metaphor of surface and depth as text and subtext. The pull-down menu produced by this tag carries a little functional baggage, that one is to choose an item from the list, which becomes something to be acted upon, such as information on a form or a link to another document. In this piece the reader can only select a line, which remains juxtaposed to the title, but nothing else happens. Is Ley highlighting the passivity of simply reading the text about women’s bodies and cruelty to animals in the cosmetics and food industries, if not accompanied by political action? On several pages she provides links to PETA inviting readers to take that extra step and get involved, rather than just enjoy the surface of things.

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

   Hannelen Leirvåg - 10.02.2013 - 22:26

5. Strange Possessions

   This collections of four hypertext poems are organized around each of the four elements of old. The primary techniques that guides these works is collage and pastiche because each work is built from images (mostly by Dave McKean) and textual excerpts from other writers, with the exception of “Fire,” which Sanders wrote. The pieces are structured linearly, which means that each page has a link to the next until one reaches the end of the sequence. One piece, “Air” doesn’t have links, but uses the meta refresh tag to load the next page in the sequence every 5 seconds, perhaps to create the sense that one is being carried by a gentle wind from one page to the next. The combination of images and pithy lines and silky smooth prose poems create an oddly refreshing experience of the Web, as the minimalist design and sense of assembled Web objects— most of the texts are images of texts, which are computationally very different objects.

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

   Hannelen Leirvåg - 10.02.2013 - 23:12

6. All the News that's Fit to Print

   This generated poem takes a deceptively simple concept and executes it beautifully. It harvests headlines and cover images from the New York Times published between 2005 and 2006 and randomly combines them to create a mock cover. This juxtaposition of text and images re-contextualizes both to create an incisive and occasionally humorous comment on the content of news coverage at this time in American history. Because the images refresh every 6 seconds, the sequence created between headlines form a kind of poetic text, a layering of lines over time that forms fascinating streams of compressed, verse-like texts. By providing images of the front page of the NY Times, she reminds us of the original context, which we are now predisposed to read with ironic detachment.

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

   Hannelen Leirvåg - 19.02.2013 - 18:53

7. Random Paths

   This hypertext poem is structured linearly, yet it offers a couple of forks in the road which can sometimes lead to endless delay. Based on a holiday in Rome, the speaker’s sends her wandering eye and inquisitive mind through the city combining text and thematically related images in each node. The first node triggers a popup window titled “Rome_index” which provides a 6 x 5 grid of thumbnail images that respond to mouseovers, bringing up new images of Rome. This sensitive surface allows readers to perform a psychogeographic exploration of Rome as perceived by the speaker’s photographic eye. The circular linearity of the poem allows you to experience it multiple times, each time observing new snippets of this ancient city to juxtapose with the poem’s lyric voice. Note: This poem is best read in Internet Explorer because it uses older JavaScript codes to create pop-up windows in a way that other contemporary browsers have difficulty understanding. You will need to enable pop up windows in your browser to allow all pop ups from the site. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 19.02.2013 - 19:12

8. Shadow

   This is a poem that uses language and code in textural ways. The letters are arranged in a light grey color on a white background clustered so densely that only a few words that jut out are readable. Three squares trigger a dark grey image to appear under the words, which creates more contrast for increased legibility, but it is not a true improvement. The few words one can make out are snippets of code, which might be an invitation to see what is in the source code.

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

   Hannelen Leirvåg - 19.02.2013 - 19:29

9. 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

10. Lines of Life

    The poem is built from one or two words at a time, sometimes appearing as plain text in a small window, usually layered over a slightly larger pop-up window with images and animation. When language appears in the image-driven windows, it does so as an image: handwritten or drawn words, or bitmapped and transformed typed words.

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

    Hannelen Leirvåg - 19.02.2013 - 19:58

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