Transcoding by Michael Hurtado from Flash using Ruffle.js
Navega entre la permutación constante alrededor de tres palabras que solo se diferencian en una letra y cuyos significados varían completamente según los artículos que las unen. Se han dispuesto de forma fantasmal todas las variaciones conocidas de la unión entre estas tres palabras para que el lector explore y descubra los variantes. El poema abre un proceso de escritura normalmente oculto al lector y lo pone a su disposición desmitificándolo.
(Source: Author's page)
Speak, Pen is a web-based art tool programmed in JavaScript. It’s a drawing tool that replaces the traditional paintbrush with custom text inputs. Users are free to use text on the canvas to make visual poetries, interactive drawings, and performances, etc. The work explores the materiality of text, and ways in which users experiment with texts beyond their semantic functions.
Created during a radical tool workshop at SFPC, Speak, Pen takes inspiration from other “radical” tools that encourage DIY spirit and playfulness. It is not just a digital drawing tool, but rather, a community that aims to inspire makers to experiment with texts beyond their daily functions. It is something that can be performed, alone, or alongside others. I intend to blur the lines between users and the creators or mediators of a platform. Our community guidelines are based not on rules for how to use the text brush, but examples of how past audiences have experimented with it. The meaning of the works lies not within the interpretation of the texts in the drawings, but the different engagements with the tool within and outside its community.
(Source: ELO 2021)
Computer generated poem in English by the Dutch sound poet Greta Monach (1928-2018), which was anthologised in the Richard W. Bailey's collection Computer Poems (1973).
in a planet earth with out humans a old chinese poet is still alive a fight vs the alien occupation and extraction of earth. Is the battle of the carbon based life in planet earth. So a ambassador from the year 8888 came to 4444 to hear the poems of Li Po. Then, the antidote to capitalism that we know thanks to Li Po poems is send to our times for sell as Rice to prevent the alien occupation. 8888 is the code that the future send with the antidote.
White-Faced Bromeliads on 20 Hectares is a digital poem, which includes a mixture of primarily the English language with some instances of Spanish. In this work Glazier explores alternatives to our customary experiences, through the use of a generator which changes the text of the poems every 10 seconds, turning it from it’s traditional static state to one with movement and change. Furthermore, the evocation of traveling through the images and anecdotes, provides an exploration of a multilingual and multicultural experience. Additionally, the presences of the HTML code leads to a work with multiple possibilities, primarily on how the reader perceives and experiences the work due to the possible technical reading of the code and the multiple possible poetic readings.
Author description: White-Faced Bromeliads on 20 Hectares is a JavaScript investigation of literary variants with a new text generated every ten seconds. Its goals are as follows. (1) To present a poetic evocation of the images, vocabulary, and sights of Costa Rica's language and natural ecosystems though poetic text and visuals. (2) To investigate the potential of literary variants. Thinking of poems where authors have vacillated between variant lines, Bromeliads offers two alternatives for each line of text thus, for an 8 line poem, offering 512 possible variants, exploring the multi-textual possibilities of literary variants. (3) It explores the richness of multiple languages. (4) It mines the possibilities of translation, code, and shifting digital textuality. Having variants regenerate every ten seconds provides poems that are not static, but dynamic; indeed one never finishes reading the same poem one began reading. This re-defines the concept of the literary object and offers a more challenging reading, both for the reader and for the writer in performance, than a static poem. The idea is to be able to read as if surfing across multiple textual possibilities. Such regeneration allows traces of different languages to overwrite each other, providing a linguistic and cultural richness.
Blending Spanish and English and offering a sort of postcard prelude to each of its constantly changing stanzas, White-Faced Bromeliads on 20 Hectares is a poem that explores alternatives and crossings. From line to line the reader can enjoy the turns of phrase but then must figure out how to deal with their constantly turning nature. Options include waiting for the line that was being read to re-appear, re-starting from the beginning of the line that just appeared, or continuing from the middle of the word or phrase.
White-Faced Bromeliads on 20 Hectares es un poema digital, originalmente escrito en inglés y español. Después la obra fue traducida completamente al español. La obra de Glazier explora los varios alternativos a nuestras experiencias habituales, a través el uso de un generador que muta el texto del poema cada 10 segundos, resultando en un poema dinámico y cambiante, en contraste a su forma tradicional, estático. Además, las imágenes y anécdotas dentro del poema evocan una esencia de viaje, proporcionando una experiencia de la multilingüe y multicultural. Por último, el uso del código HTML convierte la obra en una de múltiple posibilidades, no solo por su generador, pero por su capacidad de ser experimentada y percibida por el lector en distintas formas, como una lectura técnica (de código HTML) o poética.
Author Reading notes: Allow [title] page to cycle for a while, so you can take in some of the images and variant titles. When you are ready, press begin. Once there, read each page slowly, watching as each line periodically re-constitutes itself re-generating randomly selected lines with that line's variant. Eight-line poems have 256 possible versions; nine-line poems have 512 possible versions.
1999 e-literature award winner John Cayley writes about Saul Bass of classic film title fame. A precursor to language arts innovators Jenny Holzer, Richard Kostelanetz, and Cayley himself, Bass may now be recognized as a poet in his own 'write,' important for a new generation of designwriters creating "graphic bodies of language," moving words and signifying images, in digital environments.
(Source: Author)
