Published on the Web (online journal)

Endemic Battle Collage is a set of decades-old digital poems originally written in Apple Basic and incorporating both movement and sound within their bounds.

(Source: Author's description at Electronic Literature Collection, Volume Two)

_cross.ova.ing ][4rm.blog.2.log][_ is a "netwurk repository" that's been in operation since 2003. these "wurks" r inscribed using the infamous polysemic language system termed _mezangelle_. this language evolved/s from multifarious computer code>social_networked>imageboard>gamer>augmented reality flavoured language/x/changes. 2 _mezangelle_ means 2 take words>wordstrings>sentences + alter them in such a way as 2 /x/tend + /n/hance meaning beyond the predicted +/or /x/pected. _mezangelling_ @tempts 2 /x/pand traditional text parameters thru layered/alternative/code based meanings /m/bedded in2 meta-phonetic renderings of language. _cross.ova.ing ][4rm.blog.2.log][ /m/ploys a base standard of code>txt in order 2 evoke imaginative renderings rather than motion-based>flashy graphics.

(Author description from Electronic Literature Collection, volume 2)

Chroma is an interactive serial that examines issues of racial identity in virtual environments through a tightly choreographed combination of graphics, voice and music. Three digital explorers are tasked by their mentor with the creation of avatars that will enable exploration of a newly rediscovered "natural cyberspace" humans long ago lost the ability to access. Conflict arises when one character pauses to question the wisdom of blindly forging ahead with human representation in the digital world. Interactive real-time animations are used to represent the thoughts and feelings of the main characters, and respond to the user in intimate ways that help to illuminate the unfolding story while building emotional connections with its central players.

(Source: Author's description from Electronic Literature Collection, Volume Two)

Following Genette's forms of paratextuality, the process of quoting or re-writing in this poem involves a hypotext - the antecedent literary text (Clarice Lispector's "Amor") - and a hypertext, that which imitates the hypotext (the poem "Amor de Clarice"). Both hypotext and hypertext were performed and recorded by Nuno M. Cardoso, and later transcribed within Flash, where the author completed the integration of sound, animation, and interactivity. Following the hypotext/hypertext ontology, there are two different types of poems. In half of them (available from the main menu, on the left), the main poem (the hypertext) appears as animated text that can be clicked and dragged by the reader, with sounds assigned to the words. In these poems, the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for these movies was created by Carlos Morgado using recordings with readings of the poem. In the other half of the poems (available from the main menu link on the right), the same animated hypertext/poem is present, but the hypotext in the background of the previous is replaced by video frames, animated and manipulated by Ana Carvalho. The sound files for these movies was designed by Luis Aly, integrating recordings with readings of the short-story.

(Source: Author's description from the Electronic Literature Collection, Volume 2)

Previous publication: R. Torres, et al. (2005) Amor de Clarice - Poema Hipermédia, CD-ROM multimédia, CD audio e livro, Ediões Universidade Fernando Pessoa.

Code Movies are made with hex, ASCII, and binary codes extracted from JPG images. Saved as simple text, they are reworked and edited in Flash. They are part of a larger project I've been working on since 2004 (//**Code_UP). The submitted work (Code Movie 1) is made of hexa code. The project interrogates the role of the code in meaning construction and the new forms of translations that digital languages embody. It questions: Now that the Cybertext confuses itself with the notion of Place (a web address, for example) and that Image only reveals itself through a "hyperinscription" (a URL), can we think in a poetics of transcodification between media and file formats? Can we keep talking about "WYSIWYG" utopias? How does it affect our ways of reading, seeing, and perceiving?

(Source: Author's description in the ELC 1)

The Diary of an Absence aims to be an example of intimate personal writing through something which has been put into words but which perhaps should have remained unsaid. Arranged in the form of a diary, this narrative follows the paths of absence by delving into the pain that is caused by desire, a desire that is reflected in this particular box of raptures in the face of a separation from the loved one. To the idea of introspection arising from the exercise of spiritual reflection and the flood of torn feelings that this brings, there appears the idea of the house as a cloister, which is the scenario in which the tale in our hypertext exercise has been set. A closed space, with rooms to walk through, just as we travel different routes when we go deeper into the intimate truth of the suffering narrator. The apparently illogical ups and downs of the narrator’s thoughts are metaphorically translated into the maze where the reader gets lost, this reader who has come in search of words that will lead towards the interior that tells a story of love, of the loss of love, of passion and of impossibility. The Diary is an eminently textual product, situated in a determinate visual and musical dimension, which offers the reader a pilgrimage, a journey to be undertaken.

(Source: Laura Borras: "Growing up digital: the emergence of e-lit communities in Spain. The case of Catalonia 'and the rest is literature'.")

"Planting Trees out of the Grief" is a lyrical essay, or work of creative non-fiction about mourning. "Planting Trees out of the Grief. In Memoriam Robert Creeley" is a ficticious story that mirrors the psychological processes of coping with mourning described in the essay.

The hypertext will lead you through both texts as same as one goes through the process of mourning. You will go further and sometimes you realize you just stepped backwards finding yourself at the same point you were once before.

Being at the same point (textpassage) you were once before you'll have the choice to follow new paths - or you have to go through the same until a new path (link) reveals. Sometimes people forget they were in grief and then, suddenly, they face their loss again. Therefore, I am dealing with intendend moments of recurrence. By this, you are forced to find new paths and follow other links.

Neseblod means "nose bleed" in Norwegian, and a blurred photo of a man's face, with blood around his nose, is a key visual element of the piece. This is a dynamic, audio-visual work where the reader can affect which sounds are produced and which textual fragments are displayed on the screen. The background consists of three images that repeat in a loop at the same time as a white line continuously moves in a loop from top to bottom of the screen. The reader can move eight white dots around on the screen, and each dot has its own sound and a small textual fragment. Each time the white line scans a white dot the sound and the textual fragment are realised. The work's aesthetic expression depends on how many dots the reader chooses to activate, and how the reader organises the dots in the space. (source: Hans Kristian Rustad for elinor.nu)

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The title Bokstavlek translates as "letter play", and the work can be characterised as an aesthetic tool, or a textual instrument, that allows the reader to play with letters and words. The reader can choose which letters to hang on a power line, constructing words or phrases, and each letter is held by a small black bird that regularly flies across the screen before returning, letter in claws, to the power line.

This "cut up" poem is told slowly, in small white letters on a black screen. Morten Skogly writes that this is a "cut up" of poems written by him that "writes itself (for the patient)." Phrases appear almost as on a screensaver, creating connections on the screen that almost always make sense despite their random connections. A voice is consistent, an anxious voice: "Don't leave me here", it writes. This is an example of generative poetry.