Interactive text with letters lying down about a she that is lying down and picked up by a you who carries her off and lays her down somewhere else, and she rises, walks back and lies down etc.The words will only be readable if the custom hand cursor rights the letters and so the reader/viewer must assume a role similar to the one of the you in the text.
Interactieve tekst met liggende letters over een zij die ligt en wordt opgetild door een jij die haar wegdraagt en ergens anders neerlegt waarop zij opstaat, terugloopt en weer gaat liggen enz. De woorden worden alleen leesbaar als een speciaal cursorhandje de letters overeind duwt, op die manier krijgt de lezer/kijker een zelfde soort rol als de jij uit de tekst.
Requires a browser, preferably but not necessarily IE, with a Flash Player installed.
"svevedikt" ("poetry floating in the air") consists of seven parts, each in a loop. Every poem is created out of Norwegian words, fixed in the same position all through the animation, but exposed in different degrees. Each poem starts up exposing a few letters. The number of letters is increasing until all of them are seen. Then the number of letters is reduced in a new way. The words are selected in a non-semantic way, and each viewer will experience this differently. Both the images and the sound of the letters when read are important for the experience. The positions of the words have much in common with how the poet made concrete poetry in the sixties.
(Source: Author's description)
In “svevedikt” he [Ormstad] goes further on with an animation of a poem that moves continuously and will never stay still for its reader. In her extensive catalogtext on “svevedikt” Karen Wagner presents the poem in context of Ormstads authorship. (Source: Hans Kristian Rustad, ELINOR)
"svevedikt" består av 7 deler som hver er koblet i en loop. Hvert dikt er laget av norske ord som er plassert samme sted gjennom hele animasjonen av diktet, men eksponert i ulik grad. Diktene starter med få eksponerte bokstaver, og antallet øker inntil alt er eksponert, for deretter å bli redusert på en ny måte. Ordene er satt sammen på en måte som ikke gir en klar mening, og vil oppleves forskjellig. Både bildene som dannes og lydene av ordene er viktige for opplevelsen. Plasseringen av ordene er gjort på en måte som har mye til felles med hvordan Ormstad laget konkret poesi på sekstitallet.
(Source: Author's description)
I “svevedikt” går han [Ormstad] videre inn i animasjonen med et dikt som evig svever og aldri vil stå fast for leseren. I sin fyldige katalogtekst til “svevedikt” presenterer Karen Wagner diktet i kontekst av Ormstads forfatterskap. (Hans Kristian Rustad / ELINOR)
Flash animation by Christian Yde Frostholm
A kinetic poem reflecting on the death of the author's father that uses the car wash as a metaphor for passing between worlds.
Trepp (The Stairs) is a hypertext poem written in Estonian and first published in 1996. There is also a Finnish translation which is available at Nokturno. Trepp is the first one of its kind written in Estonian.
Goggi is a Google poem generated in real-time using fragments of blog entries. It is available in four languages.
The project is a reworking of Cia Rinnes' print collection of visual and concrete poetry zaroum, published in 2001. It consists of 29 animated and interactive visual poems, using kinetic typography and small, simple line drawings.
Requires Flash.
This work is a collaboration with japanese *Candy Factory, see http://artonline.jp/candyfactory.html
"Mountain Rumbles" demonstrates the integral relationship between structure and content. To paraphrase Brother Antonius, who said the symbol IS the symbolized--and the symbolized IS the symbol, the structure IS the content--and the content IS the structure. To emphasize this relationship, "Mountain Rumbles" is based on the japanese kanji for mountain. These micro-hypertexts further show that we can have one-minute hypertexts--that connections are not based on the size of the content, but rather the content itself.I used Photoshop to create the image. Miko Matsumura, Richard Higgason,and I huddled in a back office during TP21CL at Brown to develop the javascript and java applet needed for this program. I then used my living room wall and embrodiery thread to map the links, Claris Homepage to develop the image map, and simple text to write the html code. I have used Storyspace--probably the best program around for visualizingrelationships between writing spaces, HyperCard--probably the most flexible and useful program for doing just about anything, Dreamweaver, Front Page, etc. Still, I have yet to find a way to quickly and easily transfer the structures in my mind to any reality.
(Source: Author's note in the New River 6)
Java and HTML
"I know that somewhere here this is a homage some where" is a mixed media appropriation designed to be streamed via a web browser. It combines the opening seqeunce of Welles' "Citizen Kane" with text from Nelson's "Literary Machines". This intertwingling reverberates in all sorts of ways, simply in their being drawn together. Kane's mansion (never finished) was Xanadu, and of course Coleridge's poem "Kubla Khan" was the result of a vision that was never able to be realised. Yet from within these impossible visions (which is probably also a rather apt way of considering Welles' life as a film maker) great works have been produced. There are other, more complex layers - for instance Citizen Kane's narrtive structure as memory palace, the film's appropriation of other discourses (newsreel, radio, literature), its play between the linear temporality of cinema and the nonlinearity of its flashback structure - but these are less explicit than the simple corollaries between Xanadu, Coleridge, Welles and Nelson.
(Source: Author's description from The New River 6)
