The e-poem, video, and painting in this study were inspired by William Carlos Williams’ celebrated poem “The Great Figure.” It is fascinating to see how each artist (including Williams) used the materials of his/her medium to capture a vivid moment of human experience.
(Source: Leonardo Flores, I ♥ E-Poetry)
A virtual lexicon of contemporary culture rhetoric. Each word is explained or illustrated through image, sound, text, animation or interactivity. Style and characteristics of each entry can vary from the highly informative to the satirical and humorous.
"Til hvert ord leverer bidragyderne en "ordforklaring" i en blanding af tekst, billede, lyd, video, animation og interaktivitet. (...) Sprogkurset strækker sig indholdsmæssigt fra det dybsindige til det revyagtige. (...) Det er er vores håb, at Afsnit Ps nye Parlør kan medvirke til at nuancere den efter vores opfattelse noget monotone kulturelle hjemlige debat, som virker fastlåst i en mediebestemt og merkantil diskurs, og levere et reelt og intelligent modspil til den udbredte forskrækkelse over for det poetiske, kunstneriske og intellektuelle udtryk, for ikke at sige over for alt ukendt og anderledes." -Afsnit P beskrivelse.
kompetenceforurening: se IT bagerforeningen. Hvor tidligere bagere arbejder sammen med tidligere dataloger om at skabe en pragtfuld kage i printplader med glasur og 20 gigabyte skum. frygtlinge: mennesker der er næsten lige så bange for det ukendte som for sig selv.
This interactive video poem highlights the use of collage that is so central to Web work that one of the first Web browsers was called Mosaic. This artistic technique builds a whole out of parts, much like a Web browser assembles a coherent display document out of different kinds of electronic objects, often in different locations on a network. Formats like Flash or Quicktime produce an illusion of unity by mixing together multiple elements and packaging them for export as a single proprietary file.
Miles shows the sutures in this 30 second looping Quicktime video by shaping the image as a roughly reassembled puzzle and by including four different sound tracks in four different locations. The music track is part of the original video, and its loudness can be controlled with the volume bar in the video window, but the voice recordings are loaded from a remote location and their loudness cannot be controlled. Since they play on an independent loop, they can be activated at any point in the 30 second video loop and continue to play uninterrupted when the video restarts. The lines of text in the video slowly float towards the left, but we can never read them completely because they restart at the end of the brief video loop, which is not enough to display the entire line. For that we need the vocal recordings, which enhance the sense that we are experiencing a work that is larger than its visual and aural dimensions.
(Source: Leonardo Flores, I ♥ E-Poetry)
These four short video poems use language attributed to four persons (or shall I say personalities?): George Kayatta, Ed Leedskalnin, Marie Bashkirtseff, and @georgelazenby. All four of these people were interested in personal media: journal writing, science, and artworks for public consumption: painting, sculpture, poetry, Tweets, etc. Two of them are of uncertain origin: George Kayatta is a self-described Renaissance Man, who attributes many feats and accomplishments to himself, including a translation of the Bible into English in rhyming couplets, and the coining the term “spime.” It is unclear whether the author of the Twitter identity @georgelazenby is George Lazenby, an actor famous for playing the role of James Bond only once in On Her Majesty’s Secret Service, whose career never quite reached its initial promise (see Lazenby Factor). (Source: Leonardo Flores, I ♥ E-Poetry)
This video poem presents a nightmarish image of a body that seems to be inspired by Hellraiser and The Matrix. A sitting skeletal naked body with an umbilical-like cord connected to his heart and a screen for a face, inside of which a face grotesquely screams, apparently in pain or a trance (or both) seems to be the speaker for the poem. The verbal part of the poem is delivered entirely by audio, and through electronically distorted voices. The pain in the lyric cyborg speaker for this poem raises questions about medical technologies that artificially extend human life through painful surgical procedures that insert devices like pacemakers to regulate biorhythms. Has this character become posthuman?
(Source: Leonardo Flores)
This lyrically powerful hypertext poem is inspired and informed by a large number of sources, primarily on mythology (mostly Greek) and labyrinths (mandala shaped ones). Centered upon the Minotaur myth, the labyrinth Daedalus and Icarus built to contain it, Ariadne and the Minotaur himself, the poem gives a voice to some of these characters, representing them visually with an image of a portion of the mandala-shaped stone maze, and a body part (in the name given to the node. The hypertext is structured like a mandala, allowing readers to take direct paths in towards a center space with its own nodes. The interface also allows for lateral or circular movement across voices, placing them in conversation with one another and allowing readers to spiral in towards the center. (Source: Leonardo Flores, I ♥ E-Poetry)
CityFish is a hybrid word, title of a hybrid work, tale of a hybrid creature. Part classical parable, part children’s picture book, CityFish is a web-based intertextual hypermedia transmutation of Aesop’s Town Mouse Country Mouse fable. Winters, Lynne freezes in Celsius in the fishing village of Brooklyn, Nova Scotia (Canada), a few minutes walk from a white sandy beach. Summers, she suffers her city cousins sweltering in Fahrenheit in Queens, New York (USA). Lynne knows everyone knows it’s supposed to be the other way around. Lynne is a fish out of water. In the country, her knowledge of the city separates her from her school of friends. In the city, her foreignness marks her as exotic. Meanwhile, the real city fish lie in scaly heaps on long ice-packed tables in hot and narrow Chinatown streets. CityFish represents asynchronous relationships between people, places, perspectives and times through a horizontally scrolling browser window, suggestive of a panorama, a diorama, a horizon line, a skyline, a timeline, a Torah scroll. The panorama and the diorama have traditionally been used in museums and landscape photography to establish hierarchies of value and meaning. CityFish interrupts a seemingly linear narrative with poetic texts, quotations, Quicktime videos, DHTML animations, Google Maps and a myriad of visual images. Combining contemporary short fiction and hypermedia storytelling forms creates a new hybrid, a lo-fi web collage cabinet of curiosities. http://luckysoap.com/cityfish
"What fish they must have been, fishes' fish, blue and wall-eyed in deep cold water. Fishs' thoughts inside their heads: everything food or death, for food is living. Never still, until netted and hauled in. Until then, whole lives in motion." CityFish, J. R. Carpenter
"CityFish is a hybrid word, title of a hybrid work, tale of a hybrid creature. A big fish story swallowing a small tale’s tail. A rhizome, a fable, an urban legend. Like an old wives’ tale, it’s long been told but is never quite finished. In its latest incarnation, CityFish is a web-based hypermedia panoramic narrative. Completed in November 2010, with the support of a new media creation grant from the Canada Council for the Arts, CityFish was presented in Beta at “Archive & Innovate, The 4th International Conference & Festival of the Electronic Literature Organization,” at Brown University, in Providence, Rhode Island, USA, June 3-6, 2010. CityFish was also presented as a work-in-progress at “Interventions: Literary Practice at the Edge: A Gathering,” at The Banff Centre, in Banff, Alberta, Canada, February 18, 2010. The Coney Island videos were shot on location in 2005 and edited during the “Babel Babble Rabble: On Language and Art” thematic residency at The Banff Centre in 2006. A very, very, very early web-based iteration of CityFish was presented in an exhibition called IßWAS, at the Bavarian American Hotel in Nuremberg, Germany, July 1998. That iteration incorporated a series of photographs shot on 35mm film in Chinatown, Toronto, circa 1996; a line drawing of a fish with a tall building for a tail, drawn at around the same time; and a very short story of the same name written in 1995 from the first-person point of view of a fish." CityFish, J. R. Carpenter
wotclock is a QuickTime "speaking clock." This clock was originally developed for the TechnoPoetry Festival curated by Stephanie Strickland at the Georgia Institute of Technology in April 2002. It is based on material from What We Will, a broadband interactive drama produced by Giles Perring, Douglas Cape, myself, and others from 2001 on. The underlying concepts and algorithms are derived from a series of "speaking clocks" that I made in HyperCard from 1995 on. It should be stressed that the clock showcases Douglas Cape's superb panoramic photography for What We Will.
(Source: Author description).
After loading, wotclock runs continually as a time-piece. The numerals that traditionally circle the clock face are replaced by letters, and these letters are used to construct phrases in the center that tell the time. The first two words tell the hour, while the second two tell the minute, the seconds being counted on the clock face itself. On the minute, a new photograph from What We Will is displayed. Clicking and dragging the upper pane or lower pane rotates the panorama.
with photographs and additional production by Douglas Cape
[Note that the 2007 is for the Quicktime version. riverIsland was certainly published several years before this, but I have not been able to find the year. -JWR]
riverIsland is a navigable text movie composed from transliteral morphs with (some) interliteral graphic morphs. It is an investigation of procedures of textual transformation associated with translation, which are proposed as transliteral. (Source: author description)
