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Lollipop Noose
This video poem created in Flash is a meditation on the word game Hangman. The Western banjo rock music— a clip from Modest Mouse’s “3 Inch Horses, Two Faced Monsters“— evokes the American “wild west,” reminding us of its improvised deadly justice system that often resulted in hanging. This cultural backdrop enhances the poem’s ruminations on what would otherwise seem like an innocent little word game. Its scheduled presentation of language appropriately conforms to the game mechanics, placing blanks and filling in all of one letter at a time until the complete phrase is readable. The animation centered on the letter “O” is a pictorial analysis that cleverly leads to the poem’s title. Its use of color is not only a reminder of the imaginary stakes in the game, but also shapes the reading in some of the poem’s stanzas. As you watch and read this short e-poem and appreciate its deconstruction of the game, consider what it has to say about the real and imagined human body and that of language.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 15:49
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No Choice About the Terminology
This new entry in the PoEMM series was recently published as a free iOS app, following closely a redesigned website and a booklet documenting the series. Designed for touchscreen devices, this poem fills the screen with its lines scrolling from one side to another at different speeds and in different directions. Readers encountering this wall of text may find it a bit overwhelming— too much language at the same time to apprehend.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 15:57
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In a World Without Electricity
This is a true story about the untimely death of someone close to the speaker, who seeks to reconstruct the story of her death in a way that can provide closure and hopefully justice. It is also a reflection on analog and digital storytelling and the objects that hold these stories.
The work’s interface displays each portion of this linear narrative as a kind of slideshow, sequentially presenting each piece of the argument and evidence in a way that makes a compelling and moving. In tune with its media, it is very “electric” with plus and minus symbols on the sides of the slideshow (in the shape of a battery) that serve as a navigation interface. The electricity in the title, the battery, shaped interface, the line of ooooooo’s at the base of the slides— which indicates one’s position in the narrative, all seem to symbolically suggest the energy required in a assembling materials and evidence to put together a compelling narrative, one that might lead to an official investigation.
(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 07.05.2013 - 16:15
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How They Brought the News from Paradise
This narrative poem tells the mock-heroic adventures of an unlikely antihero on an imaginary quest. As Bigelow describes the piece,
In “How They Brought the News from Paradise to Paterson,” a first-person speaker narrates his story (in heroic verse) as he swims from one end of a resort pool complex to another in search of what he thinks is more alcohol, but is in fact a journey to find his marriage
and himself. The poem plays with the epic and tragic within a setting stifled with consumerism and class separation.The poem is structured as the monomyth, in which the speaker, while lounging at the Paradise pool bar in a 5-star resort in Barbados, overhears what he interprets as a call to adventure: the bar has run out of rum. Taking upon himself to embark upon a journey through the pool complex to find the god-like Concierge at the far end, whose “sage advice / and quick, imperious commands” would restore the flow of rum in Paradise.
Hannelen Leirvåg - 07.05.2013 - 16:30
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Apartment
From Marie-Laure Ryan's article "Cyberspace, Cybertexts, Cybermaps":
Jill Walker Rettberg - 28.06.2013 - 15:17
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The Child
DESCRIPTION FROM CRITICAL COMMONS: The materialization of text in an urban landscape is nowhere more in evidence than in French designer Antoine Bardou-Jacquet's video for Alex Gopher's The Child. Bardou-Jacquet's all-textual rendering of New York city borrows its basic concept from Jeffrey Shaw's Legible City project from the late 1980s, while stripping narrative volition away from the viewer. Whereas Shaw's project allows reader-users to simulate moving through geographically and architecturally correct streets of Amsterdam, Manhattan, or Karlsruhe on a stationary bicycle while reading the text of a story mapped onto buildings in the city, The Child delivers a high-speed chase through the streets of New York City with both landmarks and people rendered as all text. The tension that exists in these works hinges on the conflict between real and constructed environments, as well as the insistent interplay of surface and depth.
Jill Walker Rettberg - 28.06.2013 - 22:20
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Algorritmos: infopoemas
Since 1986, besides videopoetry, E. M. de Melo e Castro worked on a series of experiments with other computer media (suportes informáticos), coined by the author as “infopoesia” (infopoetry), in which he used image editor software. Once more – and this is a fact that Jorge Luiz Antonio’s analysis (2001) does not highlight – the prevailing choice of image editors at the expense of word processors reveals the visual affiliation of Castrian poetics. The infopoems’ visual animations acknowledge pixel as the primary unit of meaning, in the perspective of an infopoetic language. Some of the resulting images were published in Finitos Mais Finitos: Ficção/Ficções [Finite Plus Finite: Fiction/Fictions] (1996) and Algorritmos: Infopoemas [Algorythms: Infopoems] (1998), whose initial essay develops “a pixel poetics” and explains the amalgams created in the title. The quest for transgression, which is underlined by the book’s title (1998), is followed by the quest for formal synthesis.
[Source: Álvaro Seiça, "A Luminous Beam: Reading the Portuguese Electronic Literature Collection" (2015)]
Alvaro Seica - 11.09.2013 - 10:16
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Roda Lume
When I began using video technology to produce my first videopoem, Roda Lume (Wheel of Fire), in 1968, I did not know where the limits were and where my experiments would take me. I was really experimenting on the most elementary meaning of the word experience. A sense of fascination and adventure told me that the letters and the signs standing still on the page could gain actual movement of their own. The words and the letters could at last be free, creating their own space.
[Source: E. M. de Melo e Castro, "Videopoetry" in Kac, Eduardo (ed.) Media Poetry: An International Anthology (2007: 176)]
Alvaro Seica - 14.11.2013 - 15:57
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Tipoemas y Anipoemas
"Anipoemas" son poemas animados en los que las letras explican el contenido del título del poema. La autora juega con la semántica, utilizando significantes para expresar un significado. En "Paronama desde un tren" las letras "t" en movimiento se convierten en los tendidos eléctricos de la luz que veríamos desde un tren. En "Hojas rojas secas" las letras caen simulando el movimiento de las hojas. En "Gimnasia" las letras parecen hacer ejercicios, provocando la sonrisa del lector ante tal sorpresa divertida. En "Primavera" las letras "q" y "p" parecen flores creciendo desde el suelo. Estos poemas animados invitan a los lectores a divertirse y sorprenderse encontrando un lenguaje poético por medio de sencillas letras animadas. (Origen: Maya Zalbidea)
Maya Zalbidea - 01.03.2014 - 20:07
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Paper Wounds
“Paperwounds,” is an intimate look into the sometimes-surreal, often-manic realm of the suicidal and depressed. It is an intense snapshot of the numerous facets that go into the decision of taking one’s own life, each of its disparate parts aligning to form a piecemeal narrative readers may only ever really guess at in its entirety. Presented as a crumpled up piece of paper, readers “unwrap” the suicide note by clicking on the highlighted/pulsating words within its folds. Doing so exhumes other, shorter notes the writer placed within the virtual letter, each one a different illustration of–perhaps–what drove the fictional victim to this ultimate negation of self. The interface, technological sounds, and brief animations when you mouse over certain texts combined with the ruined state of the materials create a forensic tone for the work, casting the reader in the role of an investigator. The poem may be zoomed in on, zoomed out from, flipped, rotated, dimmed, and made completely invisible–though doing any of the aforementioned does not seem to change the nature of the text at first glance.
Ian Rolon - 09.04.2014 - 19:44
