anthology of digital and electronic poetry
Julu by Alan Sondheim
A more complex piece of running code he wrote is "Julu", picked here as just one piece of his overall work. According to Alan Sondheim's own description, "it asks a lot of questions and returns complex texts I can use for writing. It has 'arrays' in it, lists of words that it will substitute in various sentences at various times. [...] When the program runs, it asks me to enter lines, gives me material in return - and I write in and out of the material it gives; it then rearranges the lines according to its own internal logic, and gives me a text at the end." The sourceode of Julu itself is an artistic and literary work, and can be read even by non-programmers. [project hosted @ runme]
an der Grenze von Sprache und Digitalcodes
P3rmutations by Florian Cramer
Combinatory Poetry and Prose from 330 A.D. to
Kinetic Poetry/ Interactive Poetry
Palm Poetry by Orit Krugkansky
"Being a relatively new device, the Palm is certainly tinted by the "Coolness Effect", even more so with the tilt sensor. But for the same reason it also carries over more of its properties to the poetry. The user of computer poetry usually ignores the familiar (the physical properties of the machine and the conventions of using mouse and keyboard) and only treats what appears on screen. A user of Palm poetry is highly aware of the Palm as an object, and doesn't take for granted its possible interactions.
WhereAbouts by Orit Kruglansky (2003)
"I call what I do interactive poetry because my main
focus is the interaction and how it participates in the
creation of meaning in a poem.
Source: Interactive Poetry / Orit Kruglansky / http://www.iua.upf.es/~okruglan/poetry.htm
Genesis 11:1 by Ariel Malka
This bit is a continuation of the micro-research about text and texture, but it also features some interesting attributes in term of text visualization
The Text Time Curvature by Ariel Malka
A text recorder. Device capabilities: tree structure and adaptive curvature.
E- Poetry/ Hyper poetry
White-Faced Bromeliads on 20 Hectares by Loss Pequeno Glassier
"Instructions: Allow this page to cycle for a while so you can take in some of the images and variant titles. When you are ready, press "begin". Once there, read each page slowly, even aloud, watching as each line periodically re-constitutes itself re-generating randomly selected lines with that line's variant. Eight-line poems have 256 possible versions; nine-line poems have 512 possible versions"
Rictus by mez
The Lost Project by Alan Sondheim
About: "Another example of this kind of thing is a project I designed for the trAce online writing group. It's the 'Lost Project'. I was the online writer-in-residence for trAce for six months, and I first did a piece where I roamed all across the trAce bulletin board - went into all the different conferences - as if I had lost something, and might find it there. (Go to http://hum-webboard.ntu.ac.uk/~trace/login to see the webboard here.) This was interesting to me - writing a piece which was scattered across a whole lot of different sites. Someone would have to go to all of them to see what I was doing.
After this, I thought more about losing things, and decided I wanted a site where people could go and describe anything or anyone they had lost. But I changed this in several ways - I made (with the aid of Simon Mills, an excellent programmer) a webpage which 'shuddered' and looked as if it were falling apart - it made it difficult to enter anything into the form. I then had it made that, after you clicked 'submit', you'd be taken to a fake error page - as if you'd make a mistake. The idea was that you would already be feeling that you had 'lost' your writing and Description as well. If you clicked on the fake error page, it would take you to a list of everything that anyone had lost - including your own submission.
On the first page, you're asked to give your name and email address as well - but when you go to the list of things lost, your name and email address aren't there - they're also lost. You have to click on a name/address page - and you'll find a list of all the participants, without their Descriptions."
Source: Writing on Line / Alan Sondheim / http://www.gu.edu.au/school/art/text/oct01/sondheim.htm
Stir Fry Texts by Jim Andrews
The stir frys are related to cut ups. The sorts of examples of previous cut ups I'm aware of range from the textual and audio cut ups done by William S Burroughs to the sorts of experiments by Dali to more recent experiments by, say, the L=A=N=G=U=A=G=E poets, to more visually oriented cut ups done by some of the Web artists such as Reiner Strasser and Ted Warnell and others. Then there's the totally automatic text dicing machines by Lee Worden and a few others. I'm skipping lots of work here, obviously--such work is proliferating (and part of what I want to get at here is why it is proliferating). The common thread among these works is the way that textual or visual materials are quite literally cut up into pieces and then rearranged, partly at random and partly according to either the artist's associativity and/or the associativity the artist gives into the hands of the reader/viewer to rearrange and recombine the materials.
Interactive Works (hypertext), by Jim Rosenberg Diagrams Series 5
This work is presented here in its entirety. Diagrams Series 5 is a work in progress. As more diagrams are completed they will be added to the work. This work represents a return to the intense "diagramicity" of my earlier paper-based Diagram Poems (e.g. Diagrams Series 4 .)
To view this work you will need a Java-enabled browser. 32M of memory should be sufficient on Windows, but may not be enough on Macintosh; if you are using iCab on the Macintosh 32M is enough, but for Netscape or IE you may need 48M.
These works were originally implented in HyperCard, ported to Windows using Oracle Media Objects, and converted (by hand, alas) to the web using a software environment called Jamba , by Interleaf.
english versions of the printed articles avaiable on the net
1. Concrete and visual poetry in digital media, by Roberto Simanovsky [ English Version ]
The Illuminated Manuscript by David Small
Poema-bomba (1983-1997) by Augusto de Campos
applepie for doehl.
Tipoeamas and Anipoemas by Ana Maria Uribe
ER/SIE (HE/SHE) by Ursula Menzer and Sabine Orth. Erbauung (Building or Edification)
A Fine View by David Knobel
Grunewald' Animation of a verse by William Blake.
Das Epos der Maschine by Urs Schreiber / (freview: dichtung-digital.de 7/2000 )
YATOO by Ursula Hentschlger and Zelko Wiener (review dichtung-digital.de 1/2002 )
Manny Tan' interactive spider on uncontrol.com
Untitled by Squid Soup
Enigma n by Jim Andrews
Enigma n2 by Jim Andrews
2. Digital Code and Literary Text by Cramer, Florian / [ English Version ]
3. Biopoetry by Kac, Eduardo / [ English version ]
4. Diagram Poems by Rosenberg, Jim
Diagrams Series 4is a set of poems in a diagram notation realized using simple ASCII character graphics. (They should appear just fine in a text browser such as Lynx, though each diagram will take more than one screenful.) These works were published Â©1984 by Jim Rosenberg as an ad-hoc circulation in which each diagram was printed on two consecutive sheets of standard blank 14 7/8 x 11 computer paper. Portions of this work were printed inTyuonyi 1, Santa Fe, NM, 1985. This work is also available on-line in the ACEN conference of The WELL. I would like to take this opportunity to thank Carl Loeffler, Fred Truck, and Anna Couey for giving my work its first on-line home in days long before WWW was a reality.
e-journals, anthologies & pages on e-literature
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