kinetic

Artist’s Statement:
When materials that support texts change, the content could be affected. This installation is a physical reflection on how the materiality could affect the text. From ceramic tiles to displays, each new supporting material has opened new possibilities for writing.

MATTERS, seeks to write through the manipulation of electromagnetic fields with new raw materials instead of the screen. Sensitive components to these fields will be placed on three acrylic drawers (45 x 30 x 15 cm). Each drawer allows different reading times, interactions and experiences.
(Source: http://elo2016.com/jose-aburto-olezzi/)

“My Own Alphabet” is a motion poem about disorder, learning new things, forgetting details and seeing from new and different perspectives. The poetry may look jumbled to you, but the author does not see it that way. Aleatory Funkhouser is a ten year old student from the USA who is interested in experimental poetry.

According to its author, Agnus Valente, “Uterus therefore Cosmos” is a kind of work in progress developed during the years 2003 to 2007. In this project, several e-poems created by Valente and his twin brother, Nardo Germano, explores the expressive and conceptual potential of the World Wide Web. “Uterus therefore Cosmos” brings together in one digital environment, works by visual artists, poets and musicians from different eras. Valente proposes a dialogue between his poems authored with his brother and the work of brazilian poets and visual artists. ”Uterus therefore Cosmos” is metaphorically a project of astronomical dimensions. Conceived as a trilogy, the project presents in one website its three stages of creation: “Online Pregnancy” (2003), “Constellations” (2005) and “Expansions” (2007). A keyword to analyze this work is “hybridization”. In this context, the term refers to the ability of mixing signs, senses, media and languages and where all this mixing occurs is undoubtedly the digital medium. Based on the theoretical concepts of “intertextuality” and “Intersemiotic translation” Agnus Valente sets the DNA of his poetics. (Source: Luís Claudio Fajardo, I ♥ E-Poetry)

“Paperwounds,” is an intimate look into the sometimes-surreal, often-manic realm of the suicidal and depressed. It is an intense snapshot of the numerous facets that go into the decision of taking one’s own life, each of its disparate parts aligning to form a piecemeal narrative readers may only ever really guess at in its entirety. Presented as a crumpled up piece of paper, readers “unwrap” the suicide note by clicking on the highlighted/pulsating words within its folds. Doing so exhumes other, shorter notes the writer placed within the virtual letter, each one a different illustration of–perhaps–what drove the fictional victim to this ultimate negation of self. The interface, technological sounds, and brief animations when you mouse over certain texts combined with the ruined state of the materials create a forensic tone for the work, casting the reader in the role of an investigator. The poem may be zoomed in on, zoomed out from, flipped, rotated, dimmed, and made completely invisible–though doing any of the aforementioned does not seem to change the nature of the text at first glance. (Source: Ian Rolón, I ♥ E-Poetry)

"Anipoemas" are animated poems in which letters explain the content of the title of the poem. The author plays with semantics, using signifiers to express a meaning. In "Scene from a Train" letter "t" imitates the electricity posts that we would see from the window of a train. In "Red Dry Leaves" the letters seem to fall like leaves. In "Gymnastics" the letters do "exercises" provoking a smile on the reader's/spectator's face. In "Springtime" letters "q" and "p" grow up like flowers. All these animated poems invite readers to have fun and be surprised finding a poetic language trough simple animated letters. (Source: Maya Zalbidea)

When I began using video technology to produce my first videopoem, Roda Lume (Wheel of Fire), in 1968, I did not know where the limits were and where my experiments would take me. I was really experimenting on the most elementary meaning of the word experience. A sense of fascination and adventure told me that the letters and the signs standing still on the page could gain actual movement of their own. The words and the letters could at last be free, creating their own space.

[Source: E. M. de Melo e Castro, "Videopoetry" in Kac, Eduardo (ed.) Media Poetry: An International Anthology (2007: 176)]