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“Still I Rise: Remix” is a visual, lyrical, digital interactive fight song for civic action for the #BlackLivesMatter social justice and social change movement. Created during and by the stressors intensified from the global pandemic, this JavaScript interactive poetry remix embraces the digital activism made exponential during the pandemic through the platformization of counternarratives. The remix blends multiple digital mediums with cultural artifacts of the past and present to weave together a rhetorical and semiotic interactive experience that enlightens society and uplifts the human spirit. Through multimodality and intertextuality, “Still I Rise: Remix” exploits the aesthetics of the digital interactive experience through multiple artistic forms of expression, including code, video, audio, and hypertext. This COVID E-Lit interactive exhibition is a multimodal expression and declarative statement for the #BlackLivesMatter movement which embodies the spirit of change, inclusion, and social justice. “The medium is the message.” Experience “Still I Rise: Remix.”

These variable couplets are composed of language collected from multiple ship’s logs recording a storm in the North Atlantic 6 February 1870. The logs were consulted at the National Meteorological Library and Archive at the Met Office in Exeter, UK.

The larger project is my first foray into digital poetry that uses a relatively large data set, in this case, the complete sonnets of William Shakespeare.

In Volume 1, the user has the ability to stir lines from Shakespeare’s original 154 sonnets into their “own” creation and to render a screenshot of any particular stirring by pressing the “collect the ephemera” button. The user also has the option to “defeat the ephemera” and return the text to one of Shakespeare’s originals.

In Volume 2, the user does not have the ability to stir Shakespeare’s texts into their “own” creation as the texts are generative or “self-stirring.”  Instead, the user has the opportunity to “read the ephemera” by pressing the “Thou shouldst print more, not let that copy die” button rendering a screenshot of any particular stirring. “Thou shouldst print more…” is the last line of Sonnet XI.

(Source: http://thenewriver.us/95-2/)

Can text in digital space take us everywhere on the human map? This digital poem re-assembles a sentence spoken by Gabriel Iglesias on the documentary series Inside Jokes (2018) — 'And the next thing you know, there’s Mexicans in Canada.' The poem moves its reader across the world, through countries and territories, among its citizens, crossing borders. Nations and their demonymic forms are collected from Wikipedia. The script is written in p5.js.

The gladiator Spiculus enters the arena one last time in this text-based simulator. Armed with a sword and shield, he fights gladiator after gladiator until he is killed. The character Spiculus is inspired by one of the most famous gladiators of the 1st century AD Rome. Spiculus won many great battles and was well-known by audiences. He was particularly admired by the emperor Nero who rewarded him with palaces and riches for his heroics.(Source: Author's description)

"Future Lore" is a poetry generator that remixes Nick Montfort's poetry generator "Taroko Gorge". It presents a futuristic free-for-all world where chaos rules. 

White-Faced Bromeliads on 20 Hectares is a digital poem, which includes a mixture of primarily the English language with some instances of Spanish. In this work Glazier explores alternatives to our customary experiences, through the use of a generator which changes the text of the poems every 10 seconds, turning it from it’s traditional static state to one with movement and change. Furthermore, the evocation of traveling through the images and anecdotes, provides an exploration of a multilingual and multicultural experience. Additionally, the presences of the HTML code leads to a work with multiple possibilities, primarily on how the reader perceives and experiences the work due to the possible technical reading of the code and the multiple possible poetic readings.

Author description: White-Faced Bromeliads on 20 Hectares is a JavaScript investigation of literary variants with a new text generated every ten seconds. Its goals are as follows. (1) To present a poetic evocation of the images, vocabulary, and sights of Costa Rica's language and natural ecosystems though poetic text and visuals. (2) To investigate the potential of literary variants. Thinking of poems where authors have vacillated between variant lines, Bromeliads offers two alternatives for each line of text thus, for an 8 line poem, offering 512 possible variants, exploring the multi-textual possibilities of literary variants. (3) It explores the richness of multiple languages. (4) It mines the possibilities of translation, code, and shifting digital textuality. Having variants regenerate every ten seconds provides poems that are not static, but dynamic; indeed one never finishes reading the same poem one began reading. This re-defines the concept of the literary object and offers a more challenging reading, both for the reader and for the writer in performance, than a static poem. The idea is to be able to read as if surfing across multiple textual possibilities. Such regeneration allows traces of different languages to overwrite each other, providing a linguistic and cultural richness.

Blending Spanish and English and offering a sort of postcard prelude to each of its constantly changing stanzas, White-Faced Bromeliads on 20 Hectares is a poem that explores alternatives and crossings. From line to line the reader can enjoy the turns of phrase but then must figure out how to deal with their constantly turning nature. Options include waiting for the line that was being read to re-appear, re-starting from the beginning of the line that just appeared, or continuing from the middle of the word or phrase.

Mary Rose is a digital ghost story. Nunn gave context to her work on University of Alberta's blog:

Mary Rose is about my children’s great-grandmother and I’ve been writing the story for about six months. I actually have a lot more written and was originally intending it to be a novel. I decided to use some of the writing for the final project of my Digital Fictions class and I was really happy with how the story worked in a digital format. I was actually surprised how easily the Mary Rose story fit into the interactive format.

(Source: University of Albarta)