HTML5

Description (in English)

In every step of this interactive game-poem find the point-and-click trigger, to make the dialogue evolve. The game consists of approximately forty screens/events, which you may read or explore until you get to the end. Some times you may be asked to write down an intimate thought. All answers typed and submitted by players are collected to create a collective think-tank of the overall game experience.

The proposed work is an ode to the struggles of human communication. It reflects on the hardships of unfortunate dialogues, the splendor of reaching to the other side, the rise and fall of human connectedness, the agonies of stray meanings and words. Expressed through the poetics of weather phenomena, this conceptually driven interactive work represents the mental landscape between two lovers, a parallel metaphor for the contemporary digitally mediated condition. Early cyberspatial theories referred to an erotic ontology of digital experience. Michael Heim described the platonic dimensions of an augmented Eros. Roland Barthes on the other hand described language as the skin with which we struggle to touch the 'other'. In this game-poem, senses, meanings and ideas appear to be all permeated by the ‘spell’ of technology, a rhetorical as well as an erotic act of mediation through different worlds. The reader/player is asked to become part of the dipole, to meander through poetic texts and tormented emotions, at times linear, other times bifurcating, while exploring a dialogue ‘atmosphere’ inspired by visual poetry. Endeavoring to reach the 'other side' through the use of spoken language, this piece of work is an affective journey to the tempests of a fallen dialogue.

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Illustration from the poem with text from it
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An example of text featured in the poem, repeating "sea of words" over and over
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The illustration from the first image without text
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An illustration of the piece and its topic, "(dis)connected"
Multimedia
Remote video URL
Description (in English)

Aphiddd was inspired, rather fittingly, by another poem I wrote many years ago about a friendship that I felt had become dependent, even parasitic in nature, largely without me even noticing.

The work developed as if the older poem were the ‘host’, the plundered source material – which made for an interesting writing and editing process. 

The idea to use photo-scanned plants and materials as part of the work came from spending time outdoors during the autumn/winter months and seeing plants, leaves and barks deteriorating. The colours at times were spectacular and beautiful, despite the nature of what was happening.

(Source: http://thenewriver.us/aphiddd/)

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Screenshot from Aphiddd
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Screenshot from Aphiddd
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Screenshot from Aphiddd
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Screenshot from Aphiddd
Technical notes

Aphiddd is a browser-based digital poem that uses a series of photo scanned natural textures/shapes and animated texts to uncover the nature of a parasitic human connection. Aphiddd requires a contemporary web browser, a computer with a graphics card, and may take some time to download and unpack. Once loaded, use the mouse and your mouse’s scroll wheel (or the arrow keys on the keyboard and R+F to zoom in and out) to explore the poem. The poem is comprised of 3 sections. There is also an optional Android app version available.

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DOI
10.17613/q13s-mx46
License
CC Attribution Non-Commercial Share Alike
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Description (in English)

Truthology is a digital poem, created by Yohanna Joseph Waliya. He uses HTML 5 as a platform to showcase his work where animation is a key feature to his poem.

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Picture showing digital poetry
By Chiara Agostinelli, 15 October, 2018
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Abstract (in English)

We Descend: Archives Pertaining to Egderus Scriptor first appeared in electronic form in 1997, published by Eastgate Systems on a floppy disk as a Storyspace Reader for Macintosh computers; as of 2018, the work is available on the internet, encoded in HTML5 and CSS3, the latest in a series of at least a dozen necessary "upgrades" to its software instantiation. Throughout this period, techology for presenting archival material has continued to transform at an increasing rate. At the same time, previously unknown writings have come to light; new methods of processing writings have been developed; and certain assumptions guiding the preparation of previous volumes have had to be updated as well. This paper will focus on some of the most pressing issues facing the primary "minder of gaps" in such an enterprise, the Curator, of which Bill Bly is only the most recent. Perhaps the largest gap to be bridged in our comprehension of such an enterprise is that between the impression of tidiness and order that any "finished" instantiation — with its neatly labeled apparati, finding aids, annotations, and commentary — presents to the reader, in contrast to the extensive dithering, fussing, and floundering actually required to herd together a collection of writings that have been gathered and transmitted over a span of many generations. Once brought together, these texts must be arranged, sequenced, and linked to one another in an organization that facilitates their being read, understood (each by itself and as a member of a group), pondered, and then easily located again after being laid aside. The immaterial "space" defined by this "placement" of such "objects" in relation to each other — as if they were furniture and other appurtenances arranged in a room — is useless until its design can be mentally grasped by the reader, and some person must perform this essentially hospitalic function, that of welcoming the reader into the space inhabited by the writings of the Archives. In doing so, this hôtelier (the Curator, whether named or not), leaves a trace that itself can be "read". In We Descend, all such persons are regarded as of equal importance to the original Authors whose work the reader has come here to encounter. The first Curator was Egderus himself, a scribe who discovered a cache of ancient texts, to which he added writings by his contemporaries as well as his own recorded thoughts and memories, thereby creating the first "holdings" that form the kernel of the Archives now bearing his name. This process of amalgamation was recapitulated some generations later by an unknown Scholar who rediscovered the long-forgotten holdings of Egderus and passed it along, bridging the gap between Egderus and Bill Bly, whose mission has been to render the Archives into hypertext form.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/614/Welco…

Description in original language
By Daniele Giampà, 7 April, 2018
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Abstract (in English)

Christine Wilks is an awarded digital writer, artist and developer of playable stories who participated in different projects in the field of electronic literature. In this interview, she talks about her interest in electronic literature, her activism in the different projects as well as the use of different media tools and of ludic elements in her works.

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All Rights reserved
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Description (in English)

"Two Roads Diverged" is a story of family loss and its aftermath. Using Robert Frost's famous poem "The Road Not Taken" as its metaphorical model, this interactive narrative offers brief glimpses into the paths three children take after the accidental death of their parents. The narrative also offers a view--through archetypal imagery and remote voices--of the darker side of the family's tragic past.

(Source: Author's Description)

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Two Roads Diverged by Alan Bigelow (screen shot)
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Two Roads Diverged by Alan Bigelow (screen shot)
Technical notes

Built in HTML5, with Javascript.

By Daniele Giampà, 10 April, 2015
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Abstract (in English)

Alan Bigelow tells in this interview how he started publishing online works of digital poetry around the year 1999 and where his inspirations for his work come from. Furthermore he explains why he chose to change from working with Flash to working with HTML5 and in which way this decision subsequently changed his way of writing. Then he considers the transition from printed books to digital literature from the point of view of the reader also in regards of the aesthetics of digital born literature. In the end he gives his opinion about the status of electronic literature in the academic field.

Description (in English)

FLY is an artist, poet, singer, and media figure. He is also a housefly. This is his life.

(Source: Author's description from his website)

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Public Domain
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Description (in English)

Mar de versos –Sea of Verses- is a poetic digital work that explores the automatic generation of verses with the creation of the right atmosphere to its reading that includes images and sea sounds. It is programmed in HTML5, javascript and CSS3 using many of the options of this language. It is necessary to turn on the speakers to listen to the sound of the sea. Mar de versos use a technique of patterns –templates-to generate the verses with a wide basis of data from phrases and other words or sub-phrases that can fit with the patterns, therefore poems of different quality are created randomly.

Description (in original language)

Mar de versos de Félix Remírez es un trabajo poético digital que explora la generación automática de versos en conjunción con la creación de una atmósfera adecuada a su lectura que incluye imágenes y sonidos marinos. Está programado en HTML5, javascript y CSS3 utilizando muchas de las opciones de este lenguaje. Deben activarse los altavoces para escuchar el ruido del mar . Mar de versos utiliza para generar los versos la técnica de los patrones (templates) con una amplia base de datos de posibles frases y otra de palabras o sub-frases que pueden encajar con en los moldes, de modo que se crean poemas de diferente calidad dependiendo del azar.

Description (in English)

This minimalist poem hovers right on the edge of being an art piece, because each of its 50 environments offers a different mouse-driven (aimed?) interface and music. The four words positioned on the screen’s cardinal points create a space amid them that is both conceptual and a canvas. What is the relation between words positioned in opposite spaces? How do they relate to the title to each section? How do the sound and animation relate to the words and title? Clicking on the words lead to another node in this wondrously strange hypertext… This intriguing art poem is highly entertaining, as long as you can abandon thoughts of meaning and simply enjoy playing with the piece.

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

Description in original language
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