Search

The search found 100 results in 0.009 seconds.

Search results

1. Taroko Gorge [2012 remix]

   This edition of “Taroko Gorge” is the only remix published by Nick Montfort, and it generates text from exactly the same code, but it is a significantly different variation from the original. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 13.03.2013 - 00:33

2. det sublime

   A Young-Hae Chang-inspired piece on football, also challenging Kants concept on the sublime

   Sissel Hegvik - 02.04.2013 - 20:55

3. Inanimate Alice, Episode 2: Italy

   Aptly called a novel, this serially published multimedia work uses games, images, video, and narrative prose cut into portions that use poetic tactics for delivery of ideas and story. And it is beautifully integrated, layer by layer, moment by moment, to deliver a poignant narrative about a girl named Alice who exemplifies her media-savvy generation. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.04.2013 - 16:45

4. I Cried Of Course

   This multimedia version of William Minor’s poem takes the musical version and adds a layer of photographic documentation that brings out the personal and particular in the poem. The sad tone of the poem’s text is underscored by the piano and vocal performances, and the images help us visualize the details of what is behind this emotional energy. Here we see a man and a woman in black and white photographs, young, together, and happy to be there. Other images of the woman alone gazing out of the photograph’s frame, in one case wearing a wedding dress, suggest that the memory of the deceased young man is still alive within her. Images of manuscript versions of the poem, including drafts and handwritten musical scores show the work in progress, evolving from one version to the next. All of these objects— manuscripts, scores, photographs, audio recordings, and e-poem— seek to capture that which can only be experienced or imagined.

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

   Hannelen Leirvåg - 28.04.2013 - 17:08

5. Expansive Mayhem

   The interpretive dance performance seeks to evoke the experience of a concussion and does so by clustering six dancers on a side of the stage using red lighting to suggest a sense of the inside of the speaker’s head. When the dancers are clustered, swaying semi-coherently, they evoke the sense of a brain function normally, but as the piece progresses it begins to unravel, as the dancers spiral out of control. Their disjointed movements as they each dance on their own, spread around the stage mimics the cognitive impact of a concussion, echoed by the language hovering over them. The dance performance concludes by returning to normal function, urgently, as one of the dancers runs around the reorganized collective, as if trying to hold them together by sheer force of will as the screen and stage fade to black, leading us to wonder. Has the brain been healed? Has normal language function returned?

   “Expansive Mayhem”
   Choreography: Julia Tedesco and Ellie Sanna
   Poetry: Loss Pequeño Glazier (“Io Sono At Swoons “)
   Music: Jai Uttal and Ben Leinbach
   Dancers: Melissa Hunt, Marika Matsuzak, Stephanie Ohman, Sammi Pfieffer, Samantha Will, Jessica Viglianco

   Hannelen Leirvåg - 28.04.2013 - 18:38

6. 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

7. 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

8. Signal Box

   This piece is performed to the beat of a metronome playing at 100 BPM (beats per minute), the fast end of the andante tempo. That allows for Hatcher to read his poem “Control Relay Logic” one word at a time, adjusting the duration of each word to fit the space between beats, as is customary in rap music. This externalized rhythm for the poem makes the spoken word strange, but also musical, allowing Hatcher to repeat words beyond what he might pull off with a traditional reading. The dancers’ movements are also timed to that beat, making their synchronized movements somewhat mechanical. Their repetitive motions are also appropriate in this context, making them seem like logic gates, electronic switches, parts of a machine that is processing information in an orderly fashion.

   “Signal Box”
   Choreography: Hayley Sunshine
   Poetry: Ian Hatcher (“Control Relay Logic”)
   Dancers: Kara Hodges, Brianna Jahn, Ashlee Lodico, Marika Matsuzak, Megan Starnes

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

   Hannelen Leirvåg - 03.05.2013 - 17:57

9. 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

10. Working Memory

    This minimalist scheduled poem engages our ability to hold language in memory in order to act upon it. The text is displayed on two spaces simultaneously, though the header stream begins first before the second one in the box begins to compete for our attention. Each text is displayed one word at a time at a rapid rate, faster than we have grown used to with works by Young-Hae Chang Heavy Industries or William Poundstone’s “Project for Tachitoscope.” In those cases the texts are synchronized to music, and potentially accompanied by other graphical elements, but Hatcher’s poem strips away all distractions from the text, which allows attentive readers to focus most of their consciousness on one of two textual streams, since it is virtually impossible to actually read both and make sense of them. You have to choose a track or risk having your train of thought derailed, so to speak, because of the speed at which they are displayed— 170 miliseconds per word (over 5 words per second).

    Hannelen Leirvåg - 07.05.2013 - 11:37

Pages