Published on the Web (online gallery)

“The Dream Net” is an Internet adaptation of the ambiance that Kata Mijatovic executed using textual descriptions of her dreams at the exhibition K+Z in Fine Arts Gallery, Slavonski Brod, 2001. The on-line texts are complemented with visual materials according to the artist’s code. The possibility of hypertext linking is used to structure a network of dreams similar to a labyrinth. The work has no real beginning nor ending, navigation becomes vague and every further step leads deeper into the realm of unconsciousness. [Taken from http://www.g-mk.hr/online/dreams/eng/about.htm ]

“Internal Damage Data” uses the structure of a multiple choice questionnaire for self assessment of internal damage to shape the first part of the poem. For each question, Mez uses option C (maybe, unsure, other…) to develop her poem, seeking to transcend the traditional yes/no binaries in such questionnaires. In the part depicted above, she uses algorithms to structure her poem: using the logic and language of programming to guide the reader’s experience of the poem. (Source: Leonardo Flores, I ♥ E-Poetry)

This selection of six poems built with a type of composite image known as animated GIFs used to create the earliest animations in the Web. In Zervos’ experienced hands (see his “Dimocopo” suite), this simple technology can be very expressive indeed, as can be seen in “Divorce” a kinetic concrete poem that uses moving typography to highlight some of the finer points in a divorce process. The narrative poem seen above, “A Kidz Story,” is best experienced in action because it is a story generator designed with nine animated GIFs, one per line, each with a different time interval between lines. This allows for different combinations to emerge over time, providing the illusion of variation in what eventually becomes very formulaic and repetitive— an incisive comment on the genre it represents. (Source: Leonardo Flores, I ♥ E-Poetry)

“Bus” creates a soundscape of the interior of a bus in an urban location, and then uses a black screen for over a minute at the beginning of the piece to focus our attention on the aural information. When the narrative prose starts to flow on the screen, the narrator can focus on describing what he sees and we become immersed in his observations without needing further elaboration on the setting we’re in. The wandering eye approach to this and the next poem yields acute observations of human behavior while revealing much about the narrator & speaker. (Source: Leonardo Flores, I ♥ E-Poetry)

Three short animated poems about desire, made in Flash.

The idea is to create a structure online, where authors, but also soundengineers, videoartists and graphicaldesigners kan make contributions to the same history-universe, with special emphazies on the litetterary. The history should not be understood in a lineary sense, but rather as an experience of a story where each piece ( picture, sound) could be experienced unchronologically. The way [the author does] this is by creating a text-concept that can be visualized in a graphical form. The authors have to pertain to this form and place their text in a visual room. Their text will then become apparent as a visual grapical element in relations to the other elements. The reason [the author] calls it a "performance" is because the creation of this little universe is being controlled by [the author] and will transpire over several days. Contributers are placed in several countries and everything will be run online, by email and ICQ. And probably a phonecall or two.

Source: author's description

This video poem delivers lines of poetry in a sequence that emphasizes lines and words through kinetic language and precise timing to unnerve the reader. From the outset, it begins to set its creepy tone through as short looping soundtrack that provides a metronomic quality to the poem, which unfolds line by line drawing attention to certain words by flashing snippets of almost recognizable images and words. Its visual design uses oranges and reds to contrast with a blue window-like rectangle that changes position slightly over the course of the poem. The train-like sound reinforces a sense that the reader is on rails, leading to an inevitable, chilling conclusion as the poem’s imagery unfolds and the reader realizes where this is leading its readers.

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

This visually and rhythmically enthralling piece uses a minimalist interface to create a work that resonates in its repetitions. Organized to look both as a visual piece and a code poem, it uses a simple interface to organize the language and produce multiple readings of each part. I recommend reading this poem out loud to feel the rhythm established by all the repetitions of falling in each line, starting with the page as it loads before clicking on any links. Clicking on the words in the first column trigger the display of new parts of the poem on the right hand column, parts that seem to tell stories of relationships, states of being, moods, war, and other human concerns. You may choose to read the whole thing linearly and intuit a narrative from the sequence, or you may read it texturally, occasionally including a “falling” from the central column for the sake of increasing the echoing quality of the piece and adding a layer of wordplay.

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

This fascinating poem is derived from Gertrude Stein’s poetry throughout her career and exemplifies the practice of what Kenneth Goldsmith calls uncreative writing. As he explains in his essay, Reed sought to map out a “landscape” of Stein’s practice, so he devised the following algorithm to generate nine texts from Gertrude Stein.

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