anagrammatic poem

Description (in English)

In “#4artforfreedom” I sustain a mode of writing I began in 2007: exploring possibilities in creating anagrammatic digital poetry in multimedia contexts—now with the added feature of enabling multiple sonic possibilities. Works like this represent my own way of seeing language and imagery (in poetic texts) as a sustainable, or at least self-sustaining, self-supported form. For “Art for Freedom” I was thinking about gender equity, and the need—from Confucius, who I revise, onward—to demand parity. My presentation reflects and oscillates between the physical strength of everyone, visualizing a sensibility that bestows power to all. I render a plain yet artful visual aesthetic in order to support an unconventional and inventive constraint-based verse.

(Source: ELO 2014 Conference)

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Description (in English)

Favoring statistical innovation, discovery, and transformation of material more than subjectivity, my presentation for TRICKHOUSE, “book review: not a b (pdp remix),” is a software experiment that brings together multiple projects, interests, and themes. This reflection, in part an autobiographical exercise in creating multimedia poetry, does not effectively simulate the more extensive synthesis of related materials I have elsewhere assembled (featuring additional videographic, performative components, and many more poems) but is a decent representation of what I have been working on in 2008. The animation is the latest and longest (approximately 22 minutes, give or take) of a series of text-movies I began creating with Flash in early 2007. Slow scat, and sometimes random juxtaposition, of anagrammatic text derived from the title of a book I wrote, is spontaneously plotted (with assistance from the Internet Anagram server (http://wordsmith.org/anagram/). Works by mIEKAL aND, John Cayley, and Brian Stefans have inspired me to such poesis. Shorter instances of text-movies can be seen via my homepage (http://web.njit.edu/~funkhous/) and YouTube (http://www.youtube.com/user/ctfunkhouser). The soundtrack includes a non-linear mix of guitar tracks I recorded under the influence of Weezer’s Video Capture Device, using Stephan Said’s old pink guitar, at Girassol, December 07 (mixed January 08). Three of the one hundred “cancellation” poems I’ve completed in the “book review” project, recorded at Girassol April 08, are read.

Technical notes

there are 16,000 frames in this Flash file

Contributors note

multimedia animation; anagrammatic digital poem, electronic poetry, audio