“Blue Hyacinth” by Pauline Masurel and Jim Andrews

Screen capture of Blue Hyacinth:  M M M M  Blue Hyacinth Pauline Masurel Jim Andrews  V I S P O Stir Frys Tabitha flexes against the collar . I try to sound as though I know what I'm talking about. in the alleyway. I just like the look of the grey mare; the bookie can tell, it was probably obvious from the moment I walked in. the hyacinth itself or secreted  When it happens the noise insists before,  ...it goes on for months  another in the corner is smoking. She's watching the race . Rather, it's a subtle matter of class, . when she can't gain entry, Across the road clubbers spill out on to the pavements - he comes. he goes. she waits  for weeks.  after all.  she picks her way back across the landing  - Do you want this,  I could report it  slowly, sadly who would care? and begins to stroke it through the sticky tangle of her hair.
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Slightly modifying the “cut-up” technique of Dadaist and Modernist writers in her digital work, “Blue Hyacinth,” Pauline Masurel encourages her readers not to destroy the original four poems, but rather jumble them together, stir them up, and weave them in a way that shares in the creative process of generating an individualized text. By presenting “Blue Hyacinth” as a stir-fry work (using Jim Andrews’ “Stir Fry Texts” framework) that allows readers to reflect on the original poems, Masurel is changing the author-reader relationship. Masurel ensures that readers become extensions of herself by encouraging readers to manipulate her writings and fashion a text that becomes less a traditional example of poetry and more a collaborative piece shared between individual reader and writer. With “Blue Hyacinth,” Masurel crafts a space where traditional print culture roles fade and are replaced by their mutable digital counterparts. Never once just a reader or an author, those that encounter “Blue Hyacinth” are able to exercise a semblance of autonomy that is novel to texts within the digital medium.

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“Minicontos Coloridos” by Marcelo Spalding et al.

Screen capture from Minicontos Coloridos 1 by Marcelo Spalding et al. On a white background,the title is "Minicontos Coloridos." "Minicontos" is colored black and "Coloridos" is in multicolor. Smaller text in black follows.
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Minicontos Coloridos  is a collaborative project conceived by Brazilian journalist, writer and teacher Marcelo Spalding in 2013. The short tales are structurally and conceptually associated with colors in a playful way. To access the stories, the reader should mix the primary RGB colors through a pull down menu available on the website in HTML which hosts the tales interface. The website offers three blending options for each of the three primary colors, totaling 27 short tales.

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“Delimited Meshings” by Talan Memmott

Screen capture of “Delimited Meshings” by Talan Memmott. Title page of poem, divided vertically with appendix on right side and floorplan sketch on left. Text: "Delimitied Meshings, a white paper, talan memmott, SORTS, Appendix, Equilabryt, Opera, Missed.Story, Narcisystems."
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“Falling” by Steve Duffy

Screen capture from "Falling" by Steve Duffy. Black text on a white background, divided into three columns. Text: (Column 1) "always/ruin/debris/dust/flesh/light/ever/night/mind/bodies/free/luck/heaven/face/dream/leaves/only/rain/still/tears/all/cease"  Column 2 "falling"
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“Enigma n” and “Seattle Drift” by Jim Andrews: The Cauldron & Net Editions

Screen capture from “Enigma n” and “Seattle Drift” by Jim Andrews: The Cauldron & Net Editions. Title screen displaying 3 geometrical figures, each circled by text, against a black background. Text: "Enigma n, Language and image as objects in a field, Seattle."
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When Jim Andrews published these poems in Cauldron& Net, Volume 1 in 1999, their original DHTML and JavaScript codes were compatible with the two main Web browsers of their time: Netscape Navigator 4 and Internet Explorer 4 (IE). This was during the peak of what is known as the “first browser war” in which IE became the dominant browser in the market. At the time, each browser was implementing code differently, creating code incompatibilities that led to the practice of detecting browsers to redirect readers to different versions of the document, or determining what part of the code was executed in a specific session. Some writers opted to pick a browser and directed readers to view the work on that one, while others sought cross-browser compatibility.

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“Moment” by Joe Keenan

Screen capture from "Moment" by Joe Keenan. White background with curved lines of letters
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“Seattle Drift” by Jim Andrews

“Enigma n” by Jim Andrews

“Lexia to Perplexia” by Talan Memmott

Screen capture of "Lexia to Perplexia" by Talan Memmott. A black-and-white eye is displayed over two grid-like images. Text: "(incomplete)"
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“Stir Fry Texts” by Jim Andrews

Screen shot from “Stir Fry Texts” by Jim Andrews.  Black background with white, gray and blue text. Text: “I split the full scale mark – I choke/ Who now is the author? Who really ca/ the mail? Let him whine and fret ab/ important thing is not who writes or m/ the bookie can tell, then I begin di/ walked in. the hyacinth itself a wo/ Good way of rubbing n texts together/ bacteria of the reader, the various use-/ Good way to see what that langua/ Joseph Weizenbaum/ Computer Power and Human re.”
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