electronic poetry

"Chi ha ucciso David Crane?" (2010) is a "possibility" story and it has a single page beginning of the story and a reduced number of end pages. The novel is narrated in the first person by the protagonist, who proposes to the reader from time to time the choices to continue reading of the single story. At the beginning of the story the reader finds himself in a dangerous situation for the protagonist, and immediately he is offered an important choice: continue the current story or remember the previous facts to understand, in a long flashback, the reason why the protagonist he is in that situation. The choice is important from the point of view of the narrative because, in the case you choose to live the current story, it will no longer be possible to go back to reading the flashback (unless you start the novel from the beginning). Vice versa, the choice to read the flashback will allow, at its end, to resume the events "current" and to read the story started on the first page.

Source: http://www.parolata.it/Letterarie/Iperromanzo/IperCrane.htm

YELLOWFLOWERPOWER (2017) is the fifth film by Norwegian concrete poet Ottar Ormstad. Here again viewers encounter letter-carpets and a yellow y he identifies with. The work is based on slogans and song-titles from different countries at the end of the Sixties, presented in their original language, intentionally without translation.The texts are combined with photographs of sculptures from the Vigeland Park in Oslo/Norway, where Ormstad lives and shot the naked people exposed in stone and iron by sculptor Gustav Vigeland (1869–1943). This park is the largest in the world based on one artist and contains more than 200 works.The film also includes live video-footage of Charles Lloyd playing saxophone in front of a huge painting by Norwegian expressionist painter Edvard Munch (friend/enemy of Vigeland), as well as an unpublished photo of the young Mick Jagger, both shot in Oslo by Ormstad.Like in earlier works, Ormstad uses a strong sound in the very start for creating a period of silence at the beginning of the film.The animation is created in close collaboration between artist Margarida Paiva and Ormstad.YELLOWFLOWERPOWER invites viewers for an individual experience dependant upon the viewer's language background and tolerance towards non-translation.

Video HD 16:9, duration: 07:17Animation: Margarida PaivaSound: Hallvard W Hagen & Jens P NilsenConcrete poetry, cameras, piano and production by director Ottar Ormstad© Ottar Ormstad 2017

Poem 21 is based on a 1986 William Barton program (in English) called “The Mad Poet,” published in Commodore Power/Play but later redone with different Spanish words by Amìlcar Romaro. His Spanish version, Poema 21, was published in 1988 in the magazine K64. This is the first of two alternative sets of data given in that issue. The following are available: The original (Spanish) BASIC program, the translated (English) BASIC program, the original program as a PRG file, and the translated program as a PRG file. The PRG files can be run on Commodore 64 emulators; an in-browser emulator (VICE.js) is provided in the current publication. Translation to English by Nick Montfort.

The lexias for The Not Yet Named Jig appear at the will of the computer, one at a time, or, most effectively, in pages of five, where their meaning is magically changed by the lexias that randomly frame them. Thus, in the generating of many small scenes, a mise-en-scène for a larger narrative emerges. The time is the morning of April 24, 1660. The place is “Mystick Side” in the Massachusetts Bay Colony. The question was: How could I create a world model of a time and place when many details were simply not available? The answer was to write all known details into lexias, fictionalize only when necessary, and allow the computer to bring up the lexias at will. Building on the authoring system developed for file three of Uncle Roger in 1987–1988, generative hyperfiction was used in Its name was Penelope to create a whole picture of a photographer’s life by accumulating details as seen through her own eyes. In The Not Yet Named Jig, it is used to create a world model of a certain place at a certain time by accumulating historic details of the people and the environment in which they lived. The writing was intense, requiring with each added lexia, a constant replaying/rewriting until the narrative worked. Yet every time a five-lexia page was rebuilt, the story became clearer. What seems to be important is that there is no authorial structure to constrain the changing juxtaposition of narrative information.

(Source: ELO 2015 Conference Catalog)

The poem tantascoisasparadizer [somanythingstosay] is an electronic recoding of the visual poem with the same title, whereas in this version it has removed spaces that previously separated the words that hold its name. (Source: Author. Trans.: Seiça)

text captured from Python program running halfway_loop.py, code modified to fit on page # Halfway Through by Natalia Fedorova code is a remix of Through the park by Nick Montfort