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Velo City
In Velo City typography and movement of the words connect with the messages and feelings expressed. It is a kinetic and hypertext poem, similar to El rumor de los álamos by Óscar Martín Centeno. The poem has been online since 2000 and is one of the first known poems of Spanish kinetic poetry. It follows the tradition of creationist poetry by Spanish poets like Juan Larrea and Gerardo Diego because of a new use of typography and emphasis on visual effects. Technology provides the interaction between reader and poet because of the messages that the author transmits to the reader who chooses hyperlinks and perceives the different degrees of excitation of the poet through the movements of letters as well as the directions where the poet wants to take the reader: rising (feeling joyful), falling down (descending to subconscious thoughts), choosing colored words and paths, leaving empty spaces between words (creating mystery, giving new meanings to words). (Source: Maya Zalbidea)
Maya Zalbidea - 08.01.2016 - 21:08
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1_100
A interface do poema digital recorre à cor azul do tema standard da última distribuição do sistema operativo Windows 10 (foi usada ferramenta de color picker), procurando construir um caminho poético para a profanação e détournement. Este artefacto poético digital lida com a expectativa do utilizador, por meio da latência, desespero e frustração. Os utilizadores esperam que o poema carregue e, no fim, tudo o que lhes é devolvido é uma mensagem de erro que os informa de que é necessário fazer refresh à página, reiniciando todo o processo de carregamento do poema. Toda a gente sabe que não há nada mais frustrante do que a latência de uma barra de carregamento numa época sem tempo (sendo que nos encontramos constantemente com pressa, partilhando dum sentimento de urgência que nos é imposto). Ainda para mais se o processo de carregamento nunca acaba de todo, reivindicando um loop eterno que insiste numa iterativa formatação da memória. É o tempo na era digital um diferente tipo de tempo?
(http://po-ex.net/taxonomia/materialidades/digitais/bruno-ministro-1-100)
Bruno Ministro - 23.06.2016 - 16:22
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Ars Poetica
Despite that this work resembles kinetic poetry made in Flash, the author proposes a new name to describe his work - electronic emanational poems. In these poems he creates invisible, simultaneously coexisting dimensions of text that can be actualised in the kinetic (electronic) versions of such poems.
The emanational form was first used in Oka-leczenie and (O)patrzenie, two books authored by Z. Fajfer and K. Bazarnik, identified as LIBERATURA, a literary genre integrating text with the material form of the book, which inspired a new literary movement of the same name.
The poem was written in Polish in a static, printed form in 2004 and published in Fajfer’s bilingual collection of poems dwadziescia jeden liter / ten letters (Krakow: Ha!art Publishing House, 2010). The Polish electronic version was created in 2004 in collaboration with Marcin Lewandowski.
Sondre Skollevoll - 15.09.2016 - 12:39
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Tesauro
Poemas digitales basados en mi libro Tesauro, que fue publicado por el Fondo Editorial Tierra Adentro del Consejo Nacional para la Cultura y las Artes (CONACULTA) en 2010.
Un fragmento de este poemario obtuvo el Primer premio de poesía en el Concurso 39° de la revista Punto de Partida de la Universidad Nacional Autónoma de México (UNAM).
Algunos de estos poemas digitales aparecen en su versión impresa en Poesía visual mexicana: la palabra transfigurada, una colección de cinco libros-objeto del Consejo Nacional para la Cultura y las Artes (CONACULTA).
(Source: http://www.poetronica.net/digitalpoetry.html)Susanne Dahl - 15.09.2016 - 12:55
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The Silent Numbers
The Silent Numbers combines audio collage with original text appropriated from an e-mail group devoted to recording and transcribing numbers stations. Numbers stations are shortwave radio broadcasts of human and machine-read numbers and letters probably used in espionage to communicate with field agents.
Sondre Skollevoll - 15.09.2016 - 13:16
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panTVcon
Although This work was presented by Scott as being located in the library at the opening of the End(s) of Electronic Literature Festival Exhibition at The Arts Library. Its was in fact not a part of the official Electronic Literature Organization 2015: The End(s) of Electronic Literature festival, and yet it was there.
The meta-story of this "space-hack" should be seen in relation to the history of the physical object itself (TV), (Taroko-remix),e-poetry as well as Foucault work Discipline and Punish, Panopticism and the power institutions.The digita part of the Take Gonzo was hosted on the secret sub folder together with to the rest of the digital works presented in the End(s) of Electronic Literature Festival Exhibition Kiosk.
Anders Gaard - 04.10.2016 - 21:36
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O Cosmonauta
The initial idea of The Cosmonaut came from a suggestion that we work on the story of Ed Aldrin, bringing it to the digital environment. Of course, the philosophical or anthropological record did not seduce us in any way, but the possibility of fictionalizing a history of religious conversion (or reconversion). On the surface, what is known of this episode is that Aldrin, having remained alone in the Lunar Module while Neil Armstrong made his historic walk ( a small step for a man, a great leap for mankind ...), had a kind of religious epiphany. From there, he became (or came to be) a convicted Christian. On top of that, we proposed to change the location of the epiphany, which became a spacecraft in outer space, orbiting the Moon. The astronaut, on the other hand, would be a cosmonaut because of the etymological implications of this term
source:https://periodicos.ufsc.br/index.php/textodigital/article/view/1807-9288...
Alvaro Seica - 04.11.2016 - 14:29
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Entropic Texts
Entropic Texts is an interactive html5 browser-based artwork co-authored with Jason Nelson. This piece debuted at ISEA2015 (International Symposium of Electronic Art) in Vancouver, Canada, as a part of the exhibition ‘New Text: An Exhibit about Literary and Artistic Explorations into What It Means to Read, Write, and Create’ Curated by Dene Grigar. The theme of ISEA2015, and thus this exhibition, was ‘disruption’.
The idea behind this artwork/digital poem/electronic literature piece, was to consider entropy through a variety of different means. The first way, was through creating an imaginary space where the entropy actually worked faster – imagining a world where there was a corner of the earth in which things aged and decomposed quicker. For this we chose a junkyard – a space of decay. Secondly we considered how entropy would affect certain types of data, and how it could be represented through data – both visual and textual. For this we decided to use a variety of glitching techniques. Finally, we considered how a conceptual entropy could affect a website interface, as the user moved through it.
Alvaro Seica - 05.11.2016 - 16:15
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The Gathering Cloud
This hybrid print- and web-based work work aims to address the environmental impact of so-called ‘cloud’ computing through the oblique strategy of calling attention to the materiality of the clouds in the sky. Both are commonly perceived to be infinite resources, at once vast and immaterial; both, decidedly, are not. Fragments from Luke Howard’s classic “Essay on the Modifications of Clouds” (1803) as well as more recent online articles and books on media and the environment are pared down into hyptertextual hendecasyllabic verses. These are situated within surreal animated gif collages composed of images materially appropriated from publicly accessible cloud storage services. The cognitive dissonance between the cultural fantasy of cloud storage and the hard facts of its environmental impact is bridged, in part, through the constant evocation of animals: A cumulus cloud weighs one hundred elephants. A USB fish swims through a cloud of cables. Four million cute cat pics are shared each day.
J. R. Carpenter - 09.11.2016 - 11:03
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e-lit?
How deep does the rabbit hole go ?
Anders Gaard - 09.11.2016 - 23:45
