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This multimedia version of William Minor’s poem takes the musical version and adds a layer of photographic documentation that brings out the personal and particular in the poem. The sad tone of the poem’s text is underscored by the piano and vocal performances, and the images help us visualize the details of what is behind this emotional energy. Here we see a man and a woman in black and white photographs, young, together, and happy to be there. Other images of the woman alone gazing out of the photograph’s frame, in one case wearing a wedding dress, suggest that the memory of the deceased young man is still alive within her. Images of manuscript versions of the poem, including drafts and handwritten musical scores show the work in progress, evolving from one version to the next. All of these objects— manuscripts, scores, photographs, audio recordings, and e-poem— seek to capture that which can only be experienced or imagined.

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

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I ♥ E-Poetry entry
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This poem is a multimedia mashup of poems by Mary Mackey, Tulip Temple, and Carmen Firan, along with paintings by Amy Bernays brought together on a presentation tool called Prezi. Marino takes advantage of this tool’s capacity for positioning, layering, scaling, and zooming path creation to arrange these visual and textual materials in a way that truly remixes them into a new poetic experience. By juxtaposing texts from disparate sources in different formatting, he places their voices in conversation. At least one of these is already in conversation with T. S. Eliot’s poem “The Love Song of J. Alfred Prufrock.” By arranging them within paintings (with zooming that highlights their brushed materiality) he adds a sense of place to these voices.

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

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I ♥ E-Poetry entry
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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)

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An interactive, collaborative installation born by inspiration from the opening day of the Norske Hus artists house in Sophienholm, Denmark.

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Installationen Kig forbi tog udgangspunkt i Norske Hus ved Sophienholm, som i forrige århundrede var et litterært mødested for romantiske digtere som Baggesen, Oehlenschläger, Heiberg og Ingemann. 1996-99 var nøglen i forfatteren og Afsnit P-initiativtageren Christian Yde Frostholms varetægt. Med Kig forbi besvarer han kunstværket og tildelingen af nøglen ved i samarbejde med fotografen Frank Sebastian Hansen at udstille en række portrætter af forbipasserende nysgerrige, taget ud gennem vinduerne i “digterens ensomme bolig”. På internettet ledsages billederne fra installationen bl.a. af tekster af forfatterne Pia Juul og Jeppe Brixvold. Alle interesserede blev indbudt til at kigge forbi på åbningsdagen og overskride tærsklen til det ellers aflukkede hus.

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M.M. is a poetic project on a poem from Moestrups collection Golden Delicious. Moestrup sent the poem to 300 persons with the initials M.M. in and around Copenhagen. She retrieved 57 of them, each writing the original M.M (Selvportræt) poem in their own handwriting. They are now published on Afsnit P and manually in the +Laboratorium.

Description (in original language)

"Jeg sendte digtet M. M. (Selvportræt) fra min digtsamling Golden Delicious til 300 personer med initialerne M. M. Jeg fandt navne og adresser i telefonbogen for København og omegn. Jeg valgte intuitivt blandt de mange navne med M. M. En treårig og en syvårig hjalp mig med at stemple og frankere de i alt 600 kuverter. Brevene blev sendt fra posthuset på Hovedbanegården.

I et følgebrev bad jeg personerne om at indskrive eller omskrive digtet i hånden og returnere det til mig i en vedlagt svarkuvert. Der var deadline på min fødselsdag, d. 11. 12. 02. Brevene begyndte at dumpe ind sammen med min almindelige post, rudekuverter, fødselsdagshilsner, postkort. En betragtelig bunke breve kom tilbage, fordi modtageren var ubekendt på adressen. Men jeg fik også 57 brevdigte tilbage. 57 forskellige versioner af M. M." Mette Moestrup.

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Digtet "M. M. (Selvportræt)" havde skiftet sammenhæng fra bogen, som blev udgivet og distribueret offentligt, til denne private brevveksling. Bogens digterjeg og selvportrættet var blevet overtegnet af andre jeger, andre M. M.'er. Jeget havde skiftet sammenhæng, ligesom digtet. Jeg tænkte det som et forsøg på en anderledes dialog mellem digter og læser, digt og brev.

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Dreaming of a book you're not writing.

Description (in original language)

At drømme om en bog du ikke skriver.

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I drømme er bøgerne tomme. Store læderindbundne, knirkende sager, fyldt med blanke sider, som man selv fylder ud med sin spidseste pen nat efter nat. Kapitel efter kapitel. Bagefter forsegler man dem med en lille gylden lås. Og holder nøglen fast krammet i en svedig hånd, før man gemmer den det mest hemmelige sted. Når man vågner, leder man som en rasende. Men nøglen er væk.

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A photo- and text mosaic made by the group StadtFlur. The piece illustrates the drop-in washeries of Cobenhagen, through texts of the industries' golden age and downfall and pictures of interior design and the trivial.

A booklet (PDF) was part of the project, distributed in a limited edition, to about thirty of the washeries of Cobehagen.

Description (in original language)

En foto- og tekstmosaik udført af gruppen StadtFlur. Udstillingen skildrer de københavnske møntvaskeriers tidslommer i storbyen gennem tekster om branchens storhed og fald og interiørbilleder af såvel trivielle motiver som unikt design. Alt sammen præsenteret i bedste interaktive automatstil.

En booklet (PDF) indgik i projektet Program:Møntvask. Den blev udgivet i et meget begrænset oplag og lagt på ca. 30 københavnske vaskerier.

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A Young-Hae Chang-inspired piece on football, also challenging Kants concept on the sublime

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Like the sky the eyes is conceived from the start as a hypertext novel: as a set of links and intertextual relations. Once you click on the access to the novel, appears to us a grid, in which each section is occupied by an eye. On the vertical axis we read three names (Javier, Iñaqui and Paco) and the horizontal axis is numbered from 1 to 13. Three characters, thirteen times and one novel, a single trigger event, "Elizabeth is dead ..." Not only imports text about the story but the layout is the principal: "Select character and pressing time on a eye on the grid "pray bold lines. [Source: http://www.badosa.com/bin/obra.pl?id=m001 ]

Description (in original language)

Como el cielo los ojos se concibe desde el primer momento como una novela hipertextual: como un juego de vínculos y de relaciones intertextuales. Una vez que pulsamos en el acceso a la novela, aparece ante nosotros una cuadrícula, en la que cada sección está ocupada por un ojo. En el eje vertical leemos tres nombres (Javier, Iñaqui y Paco) y el eje horizontal está numerado del uno al trece. Tres personajes, trece tiempos y una sola novela, un solo acontecimiento desencadenador: «Isabel ha muerto...» No sólo importa el texto en cuanto a la narración sino que la disposición ocupa un lugar principal: «Seleccione personaje y tiempo pulsando sobre un ojo en la cuadrícula» rezan unas líneas en negrita. [Source: http://www.badosa.com/bin/obra.pl?id=m001 ]

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