Five stories, an aubade, an epic, a sestina, a lipogram, and a ballad for Short Message Service.
Structured in four acts, Maguire offers a personal narrative reflecting Ireland, its culture, and its myths.
A collection of 25 countdown clocks and the cataclysmic prophecies associated with each end times scenario. Published under the imprimatur of Singularity Watch! and the Ecumenical Eschatology Working Group, these prophecies depict the many ways that life as we know it will come to an end. Whether due to catastrophic stage magic to orgiastic overeating, clouds of interstellar fog to giant fish, Nelson and Heckman's work suggest that our days are numbered.
Described by the author as a "Spatial narrative./Repeated access of a character set as data." In New Directions in Digital Poetry, Chris Funhouser notes that the author "...engineers, usning Flash and Javascript, a visually demanding poem that reflects the refined attributes ow WWW-based literary hypermedia." Funkhouser writes "Map of a Future War . . . does not limit itself to existing as an artwork about the injustices of business or to the deception and complexities of numbers, the miasma of trade. Ferrailo also acknowledges human failings and grief outside the realm of commerce, thereby suggesting that these collapses may be related."
(Source: Chris Funkhouser, New Directions in Digital Poetry)
Flash and javascript
Czarne Jagody Susan Gibb dotykają modnego w bestsellerowym obiegu literackim tematu molestowania w dzieciństwie, lecz przynajmniej pod dwoma względami podchodzą do niego inaczej. Po pierwsze, jest to fikcja hipertekstowa: niektóre z kluczowych scen są ukryte przed czytelnikiem. Dostajemy się do nich przez ucho igielne pojedynczego słowa-klucza, które łatwo gubi się pośród innych, mniej intymnych wskazówek. Dlatego dla jednych Czarne Jagody mogą się wydać zgrabnie napisanym zbiorem wspomnień z dzieciństwa i zapisem artystycznego debiutu malarki. Dla drugich będzie to opowieść o horrorze dzieciństwa, zbrukanego przez tych, którzy powinni byli je chronić. Czy obie wersje okażą się prawdziwe? A może każda z nich przesłania jeszcze inną, szokującą prawdę?
(Korporacja Ha!art)
Translator: Mariusz Pisarski (English/Polish)
Blueberries is a piece that I wrote shortly have spending over three months writing a new short story in hypertext every day. The form is one that I find so suitable to the open flow of narrative not only for the writer in the creative process but for the reader in choosing the paths that open up throughout the story. Blueberries is more than just the story of an artist putting together a show, as it brings the past confronting the present in her preparation and the hypertext form allows that interplay with time.
(Source: Artist Statement by Susan Gibb)
When I Was President is a portrait of absolute power as depicted by a fictional President of the United States. This President is unnamed and non-historical, that is, he has never, and could never, exist, yet what he represents is archetypal in nature and endures within the optimism, dangers, and limitations of political power. The work is created in Flash and divided into nine sections, each of which addresses a different Presidential act of power, and its consequences. The acts of power are elemental and metaphoric--they are simultaneously absurd, idiosyncratic, and impossible, yet they seem to tell some basic truth about the promise of absolute power, and its inherent failures. This work uses images, videos, and audio files acquired online, and modified by the artist. A credits page is included on the site.
(Source: from rhizome.org)
“Seattle Drift” leads us to think about different poetic “scenes” and how a text can enter and exit these poetic traditions through the deceptively simple mechanism of “drifting.”
(Source: Leonardo Flores, I ♥ E-Poetry)
I'm a bad text. / I used to be a poem/ but drfited from the scene.
DHTML
"Presenting the results of a data search sure to strain the capacities of any computer, Milutis proceeds to give an exceedingly close reading of what he modestly calls 'the fundamental core of all literature.'"
"this is a piece of literary minutiae, which, while straining the capacities of any search engine, has had a profound effect on literary experimentation. . . . "
"In 1968, Marvin Spevack developed the first computer-assisted concordance to Shakespeare, A Complete and Systematic Concordance to the Works of Shakespeare. Only then were we able to get a full sense of the statistical array of the bard’s this. But the data, while revealing, is still indiscriminant, conflating artistic uses of this with more utilitarian ones. The human operators of this mainframe—an IBM 7094 that was fed punch cards and recorded on magnetic tape—could have treated the output as mere system noise rather than significant information. But Spevack wanted pure data laid out 'in as direct and uncluttered a manner as possible, and yet as seen from different angles, to avoid editorial tinkering and conjecture.' And so this was not filtered from the results."
A harrowing alphabetical excursion into the world of the rolled r. Milutis tracks—and, through sounds and videos, shows—the primal violence and utopian trill of 'the most rrresilient of locutions' in sound poetry, regional dialects, and televisual affects, from Kurt Schwitters to Georges Perec to Rodgers and Hart to Charles Bernstein.
This site between what Agamben calls "the infinite sea of mere sound" and articulate speech is the particularly generative, albeit ambiguous, site of sound poetry, if not of poetry itself. Yet sometime around 1950 (for poet Steve McCaffery), or even at the turn of the twentieth century (for media theorist Friedrich Kittler), something happened to take poetry away from the word, and by extension the letters that compose it, as recording technology allowed for an aestheticization of “mere sound.” Indeed, the rolled r—puncturing the line through its pure sounding—promised this return to the infinite sea of the real, presaging more effective disruptions of symbolic networks by way of the proliferation of reproduced sound.