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Coronation is a webcomic created by the Marino family using digital tools and platforms to document our experience of the COVID-19 Pandemic. Since the beginning of the lockdown and the various homestay orders in Los Angeles, we have been creating and publishing one comic per day, five days a week, using a combination of digital tools, specifically filters and graphics applications. Images include photographs from our family albums, screenshots and downloads from Internet-based news sources, as well as original hand-drawn images created using digital tools. As the pandemic continues to sweep the globe, Coronation documents one family’s experience of the ups and downs of the Corona virus and the surrounding times, including the 2020 US Election and its ensuing drama and the Black Lives Matter protests. The comics are profoundly domestic and yet reflective of a global crisis, focusing on intimate family moments, transformed through digital tools into a visual expression of the ongoing homestay during a time of turmoil. As we craft these together, the webcomic has been a way for our family to take this time of chaos and to respond creatively and collaboratively by reflecting on the life in one household. We try to frame our experience with humor, sensitivity, and a medicine that is in quite short supply, hope.Unlike previous pandemics, such as polio, HIV, and the Spanish flu, COVID-19 has emerged at a moment of tremendous digital connectivity. However, the news and social media feeds have created so-called doom scrolling. We have used the digital tools and platforms available to us to rapidly document events, to transform them into comics, and to share them online with a broader world, inviting them into our homestay as we share our climbs and falls, confusion and epiphanies, all born of some unexpected family time.Although our main platforms for distribution are electronic, we have also been producing individual hand-made print versions as well.

(Source: Author's abstract)

a webcomic born during the Coronavirus outbreakand subsequent social isolation of 2020,written by me with my family.

(Author's description)

http://city-links.co.uk/

Richard Holeton’s gleefully, not to say Gaudi-ly, illustrated glidepath through the remnants of language that trail beyond the (littoral, literal) “postmodern” like the tail of a forlorn freeform comix comet, manage—as the Oulipo poet Michelle Grangaud might have said in her own Formes de l’anagramme à faire plusieurs fois des Temps rondo, in an eschatological imagetext mashup of demon storm troops, pert rodents, and skidrow resident poets, porn purveyors, and sperm donors via Flickr borrowings, Wiki burrowings, and whole tons of homebrew images bluesily rendered ala twerk.

(Source: Vassar Review introduction)

A Certain Slant of Light, Typographically Speaking is a blog post that chronicles the process of creating a piece of electronic literature from prompt to product. The project took the Emily Dickinson poem “There’s a certain slant of light…” and rearranged the words into a drawing, inspired by the poem. What makes this piece of electronic literature especially interesting is that this is my first attempt at e-lit! I documented the discovery process on my blog Some Science in a nod to the digital humanities; to show how using electronic tools creatively can produce and inspire art. (Source: Gallery of E-Literature: First Encounters)

Scriptpoemas (2005-) is a collection of poems or “poemas” which is still being written by Antero de Alda. He was described by Rui Torres as an explorer of “new paths for computer-animated poetry” (Torres, 2008). These short and (apparently) ready-to-consume poems were created using Flash, Javascript and ActionScript and they often enact the activity or attribute described in their title. Each poem seems to convey the literal meaning of the words used to describe them: the “poem in prison” is presented behind bars, the “spherical poem” can be described as a round object. However, as soon as the poems are activated by the reader, new details begin to surface. Antero de Alda makes use of the digital environment to uncover the many faces of a poem and the evasiveness of language. The arbitrariness of signs is, after all, widely explored by Alda in each poem. Nothing is what it seems and icons, concepts or famous photographs are defamiliarized and turned into traps designed to betray the reader’s senses. Verses, stanzas and verbal language are reshaped as, or intertwined with, icons, images, sounds and animations. These are not straightforward representations of objects, but particles of an ongoing reflection on language, literature and life.

So far, the following poems have been included in Scriptpoemas: Poema a 33 Rpm [33 RPM poem]; Poema Avariado [broken poem]; Poema na Prisão [poem in prison]; Poema para Jogar [playable poem]; Poema Suicida [suicidal poem]; Poema Pornográfico [pornographic poem]; Poema Zoom; Túnel de Poemas [tunnel of poems]; Sementeira de Poemas [seedbed of poems]; Poema Negro [dark poem]; Poema Ilegível [unreadable poem]; Poema Objecto; Poema Graffiti; Poema Embrião [embrio poem]; Poema Código de Barras [barcode poem]; Poema Habitado [inhabited poem]; Poema de Pedra [stone poem]; Poema Camuflado [undercover poem]; Poema Em Viagem [travelling poem]; Poema Trapezista [trapeze poem]; Poema à Lupa [poem through a magnifying glass]; Galeria de Poemas [gallery of poems]; Poema Puzzle; Livro de Poemas [book of poems]; Poema de Artifício [fireworks’ poem]; Poema Relógio [clock poem]; Poema Tremido [shaky poem]; Arquivo de Poemas [poems’ archive]; Poema na Tv [poem on TV]; Poema de Natal [Christmas poem]; Para não Esquecer [not to forget]; Manta de Poemas [quilt of poems]; Poema Carambola [carom poem]; Poema Carambola 1; Poema Reflexo [reflection poem]; Poema Escondido [hidden poem]; Poema Mensagem [message poem]; Poema de Passagem [stop by poem]; Poema Cinético [kinetic poem]; Poema Translúcido [translucent poem]; Poema Iluminado [illuminated poem]; Poema Diário [daily poem]; Poema Saltitante [hopping poem]; Poema Festivo [merry poem]; Poema em Construção [poem under construction]; Poema Intermitente [intermittent poem]; Poema Adesivo [adhesive poem]; Poema Declamado [recited poem]; Poema Declamado 1; Poema às Moscas [dusty old poem]; Poema às Feras [poem thrown to the beasts]; Poemas Entrelaçados [interlaced poems]; Poema (Im)Possível [(im)possible poem]; Poema no Espaço [poem in space]; Poema Esférico [spherical poem]; Poema Caleidoscópio [kaleidoscopical poem]; Poema Cibernético [cybernetic poem]; Poema Dactilografado [typed poem]; Poema Galáctico [galactic poem]; Poema em Código [poem in code]; Poema Arrastado [dragged poem]; Poema Colorido [colorful poem]; Poema Serpente [serpent poem]; Poema Centrífugo [centrifugal poem]; Googlepoema; Poema Telegráfico [telegraphic poem]; Poema Antifascista [anti-fascist poem]; Poema Psicadélico [psychedelic poem]; Poema Esqueleto [skeleton poem]; Poema Matrix; Poema Cativo [captive poem]; Poema Óptico [optical poem]; Poema Rotativo [rotative poem]; Poema Em Casa [poem at home]; Poema Subaquático [underwater poem]; Poema de Amor [love poem]; Poema por Tamanho [custom size poem]; Poema do Mar [sea poem]; Poema Ao Luar [poem under the moonlight]; Poema à Janela [poem at the window]; Poema de Pesquisa [research poem]; Poema Americano [American poem]; Micropoema; Poema Circulante [circulating poem]; Poema Flutuante [floating poem]; Poema ao Vento [poem to the wind]; Poema Elástico [elastic poem]; O Rasto do Poema [the poem’s trace].

References: Torres, Rui (2008). "Scriptpoemas' introduction", in http://www.anterodealda.com/scriptpoemas.htm.

Les Mots et les Images is a work by J.-M Dutey published in alire 5 in 1991. At first, one encounters a table that is divided in 21 smaller boxes. Here, there is a spatial idea that is introduced which Dutey wished to explore as seen in a quote from the work itself, “(Dutey) voudrait que sa poésie explore les espaces qu’elle occupe et ceux qu’elle suggère.” This quote expresses an exploratory desire because one has to click on the words on the screen to begin the program. If one chooses not to click, then nothing will happen. It is up to the user to explore the work, whether that is limited or full exploration. This seems to give the user a sense of control, yet when one chooses to begin; the control is replaced by a feeling of being lost in the connections between the words in the smaller boxes. The words that appear in the small boxes are the following: Magritte, tableau/forme, « pour alire n.5 octobre 1991, proposition, mot(s), représentation, image(s), nom, objet(s), autre nom, contours, signification, réalité, figures/précises/choses, figures/vagues/choses, Philippe Bootz/Jean-Marie Dutey, ou bien le contraire, et 1928.The box « Magritte » is named in reference to the Belgian painter, René Magritte. All of the images that are used in the program are images that Magritte created in his work “Les Mots et les Choses” which explores the relationship between things and words from 1929 during the surrealist movement. Next to the large table containing the 21 smaller boxes, there is a small table with the words “autres objets”. In that same corner, a third table is divided in 9 boxes with the word “clic”. When one clicks on one of the 18 words on the larger table, lines appear between the chosen word and other words on the screen. There is a variety of connections that are made, ranging from as low as 2 or 3 and going as high as 6 or 7. The lines that appear are all in different colors (red, green, blue, brown, yellow, pink, etc.) Sometimes, the connections between the words are not actually lines, but instead circles. After having clicked, one can click on the square at the corner. In relation to the number of connections in the larger table, the smaller table divided in 9 will show different colors correlating to the colors of the lines/circles. When the colors appear, one can click on a color which will proceed to a screen that shows the relationship between the original word chosen and one of the original images by Magritte. For example, when one clicks on “objet(s)”, there are 9 additional words that are connected to it, therefore there are 9 total colors on the table. When one choses one of these 9 colors, one sees the connection between “objet(s)” and the word to which the color links it to. In this case, red leads to “representation”. The screen that follows is the relation between an object and the idea of a representation. The screen shows two identical houses. The first house has “l’objet reel” written under it; the second house has “l’objet représenté”. At the top of the screen, there is a sentence: “tout tend à faire penser qu’il y a peu de relation entre un objet et ce qui le représente » (everything tends to lead to thinking that there is little relation between an object and that which it represents). All the relationships between the words are represented by images. All the images describe the idea of space, of representation, of vagueness and of interpretation.

“The Descendants” by Alexandre Gherban is a dynamic and “active” program with an indeterminate function. It varies in transiency, sometimes being transient and other times intransient; In other words, the aspects of the program (the text, the images, and the sounds) change and move constantly in a random, or indeterminate, function. Even if the text does not have a personal perspective, the viewer plays a role by choosing his/her path in the work. The reader can interact with the processes and find the links within the images. Only then do words reveal themselves. By clicking on the words, (“the descendants”, “the parents”, “who…”, “and who…”) the work changes and the viewer can interact with the images of the new page. For the page where one sees “the parents”, one must choose one of the two images that represent the parents themselves, and this choice determines the path for what follows. This function suggests a reference to artificial life. By starting with “the parents” that produce “the descendants”, the viewer sees a type of reproduction that resembles that of a family tree. By choosing the path of one parent or the other, the user has an exploratory function. With each new page that follows, the viewer can play with the images and the symbols, and then find a link to continue on to the following page. Because of this, one could say that the text offers an explicit chaining, or linkage. These images are made of letters, geometric figures, and small photographs, all representing the “descendants” and what they do. Even if the images are designed with a random function, they move in repetitive ways with each new page. At the same time, one can always see the calculated randomness that presents itself in real time (where the objects move at the moment when the viewer sees them or the mouse touches them), all of which determines the atmosphere of the program. Like the article “3eme brouillon pour un manifeste de l’œuvre d’art sur ordinateur “ by Antoine Schmitt suggests, “Put there is a direct relationship between the processes and the spectator, through the effects and their perception, the actions and the reactions.” This program is similar to the third program of “Trois Machines de poésie” by Gherban presented at the international festival "e_poetry Paris 2007". One sees “the parents” and then “their descendants”. It is interesting that the descendants of this program are introduced with a possessive adjective, "their", rather than an indefinite article like “the descendants”. In general, the relationship between the parents and the descendants is evident because “descendants” must have parents from which they came, but perhaps this relationship does not have the same meaning in these two programs. One can, perhaps, conclude that “Les Descendants” is an extension, or rather a continuation, of the third program of “Trois machines de poésie”.

Oscar Martín Centeno said "the aim of my videoprojections is to impregnate the audience with all the senses". El rumor de los álamos -The Murmur of Poplars- suceeds in reinforcing the poetic meaning with the expressive reading of the author, the relaxing piano music and the image of hands getting together in a liquid atmosphere, like if they were inside of a river in an imaginary forest in a memory or dream (Maya Zalbidea 2014).

Si sólo son libros by Marla Jacarilla, 2009, is a simple hypertext in which the author links 48 books by means of a screen that evokes an image, an illustration or a collage. A paragraph selected from the book completes the presentation. The list of volumes is dynamic and it moves around the screen and therefore, after a while, the access to a particular book is lost (Félix Rémirez, translated into English by Maya Zalbidea).