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1. Birdfall

   “Birdfall” deconstructs a single narrative sentence written in conventional English and slowly transforming it into mezangelle. As you scroll down the window to read each line and prose poetry paragraph, the language becomes stranger as she inserts extended passages in brackets inside of words, shifts spelling to homophones with different meanings, adds self-referential metatext that suggests links, and more. She uses animated GIFs in the background and foreground to signal to readers that there there are shifting intentions, language, and narrative— as if the ground on which this text is placed is unstable. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 03.05.2013 - 16:24

2. Clone-ing God & Ange-Lz

   “Clone-ing God & Ange-Lz” is graphical and scheduled in its presentation, transforming language and images in over time in ways that subvert traditional ways of portraying such figures. Short sound loops, animated images, and animated images of text with formatting and language changes enhance her mezangelle language practice with visual information, as can be seen in words like “prayah” (emphasis added 2.high[lite] the you.z of Y.t tXt in “ah”). (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 03.05.2013 - 16:37

3. Trickle

   This performance of Piringer’s video poem “Broe Sell” extends the Lettrist dynamics occurring on screen onto the stage and the dancers. There are two significant props: a white sheet on the ground that may represent a page or screen surface, and a constant trickle of little crumpled pieces of paper falling on a spotlit space in the front of the stage. The dancers act like letters— or better said, letters placed in Piringer’s hand, which leads them to behave much differently from what we’re used to seeing on page or screen. In synch with the music and displayed video poem, the letter-dancers cluster and disperse, articulate their joints, collapse, rise again, and gaze time and again at the paper trickle.

   Choreography: Kristina Merrill
   Poetry: Joerg Piringer (“Broe Sell”)
   Dancers: Jenny Alperin, Andrea Fitzpatrick, Kara Hodges, Stephanie Ohman, Lexi Julian

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

   Hannelen Leirvåg - 03.05.2013 - 18:02

4. Afghan War Diary

   This poetic Internet artwork makes a visceral connection between the documentation of frags in Counter-Strike multiplayer servers and the military actions documented in the Wikileaks Afghan War Diary database. As it connects the fake videogame death to military actions that usually resulted in the loss of one or many real human lives, it performs Google Earth searches to display the location of these actions. By presenting three events and locations at a time, it allows for the visuals to load and creates a time buffer to allow us to focus our attention on a particular location for longer than the few seconds between frags allow. And since we are unable to control anything in this piece, except the choice of server at the beginning, we become powerless spectators of violence made abstract through terse language and eerie landscapes devoid of human beings. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 12:26

5. Wittenoom: speculative shell and the cancerous breeze

   This award-winning responsive poem focuses on the Australian ghost town Wittenoom, abandoned due to toxic dust caused by asbestos mining. Each of its nine parts focuses on an aspect of the abandoned town and consists of an image from Wittenoom, generally portraying urban decay, an brief looping instrumental audio track, links to other parts of the poem, a title for the section, and a text accessible through different responsive interfaces. A brief parenthetical help text near the bottom left corner of each screen provides encouragement that hints at the interface, promting readers to explore the interactivity and intuit its internal logic. The thematic focus and consistent visual design pull the work together, while the varied interfaces lead to new explorations of the spaces, together producing an experience both jarring and immersive. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 07.05.2013 - 12:45

6. Alphabet of Stars

   This responsive visual poem is a study of writing technologies and the word, whether it’s “ink sunk into fibrous paper” or “light through liquid crystals.” Inspired by Stephane Mallarmé’s poetic and theoretical writing as studied by Kittler, Trettien’s JavaScript (& JQuery) work explores the range of shades between the white page and the black sky as backgrounds against which writing can occur with light or ink.

   Designed not only for unresponsive screens or pages, this poem is written in code to display and behave in environments that allow for readers to provide input that the words react to. As the reader interacts with the language on the screen through the two interfaces she provides, the text hovers between readability and an illegible typographical overload. And the source code offers no shortcuts, since each letter is separated by extensive code that positions it on the screen. You have to get inside the page and navigate it with the tools offered by your platform.

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

   Hannelen Leirvåg - 07.05.2013 - 13:00

7. Nomen Sacrum Trial

   This “psychometric trial” prompts readers to explore their sacred name through manipulation of the “lettered sieve” an infinite set of language constructed as follows:

   For the following trial, imagine the alphabet, followed by, in alphabetical order, all permutations of pairs of letters of the alphabet, followed by all permutations of triples of letters of the alphabet, followed by quadruples, and so on for quintuples, sextuples, and so on. Let us call this infinite set of letters a ‘Lettered Sieve.’ Possessing a working concept of the Lettered Sieve is essential to completing the first seven parts of the trial.

   Hannelen Leirvåg - 07.05.2013 - 13:04

8. Unravel

   This scheduled poem plays like a silent video composed of a series of photographs of a wheat field in the background and kinetic language in the foreground. The text unfolds through a series of transformations of words by moving letters around into to form other words, and letter substitutions that create rapid word sequences. Timing is all in this poem, which could be organized internally by the speed at which its words are transformed and the means by which they change from one to the next. Notice the speed at which a sequence of four letter words change through letter substitution, forming a stream of associations, and the emphasis this gives to the pause at the end. Contrast this to the longer words that transform into other words by moving letters around, emphasizing each word and its meaning as moments with a thematic charge that punctuates the poem.

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

   Hannelen Leirvåg - 07.05.2013 - 13:29

9. Little Book of Prompts

   This work prompts readers to write according to a set of poetic constraints, offering original, famous, and obscure forms and examples. The interface offers a series of virtual pages floating in fixed positions in space, and allowing readers to tilt them, zoom in and out, and flip them over to read the examples on their verso. A close examination of its yellowed pages reveals barely perceptible ink marks from handwriting on the other side, but that information is missing when one flips the page.

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

   Hannelen Leirvåg - 07.05.2013 - 13:32

10. 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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