“Self Portraits(s) [as Other(s)]” by Talan Memmott

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“Self Portraits(s) [as Other(s)]” by Talan Memmott

Talan Memmott’s 2003 work Self Portrait(s) [as Other(s)] situates itself within an art historical context by presumably introducing the reader to self-portraits of artists from between 1756 to 1954, allowing the reader to simply click through what might conventionally pass for a mundane educational presentation.

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“Útero portanto Cosmos” (Uterus therefore Cosmos) by Agnus Valente and Nardo Germano

Screen capture from "Útero portanto Cosmos" (Uterus therefore Cosmos) by Agnus Valente and Nardo Germano. Black background with three grey dots in the middle and two lines of grey text, one at the bottom, the other at the top. Text:"Utero" "Cosmos"
Open “Útero portanto Cosmos” (Uterus therefore Cosmos) by Agnus Valente and Nardo Germano

According to its author, Agnus Valente, “Uterus therefore Cosmos” is a kind of work in progress developed during the years 2003 to 2007. In this project, several e-poems created by Valente and his twin brother, Nardo Germano, explores the expressive and conceptual potential of the World Wide Web. “Uterus therefore Cosmos” brings together in one digital environment, works by visual artists, poets and musicians from different eras. Valente proposes a dialogue between his poems authored with his brother and the work of brazilian poets and visual artists.

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“A Encantação pelo Riso” (Invocation by Laughter) by André Vallias

Screen capture from "A Encantação pelo Riso" (Invocation Laughter) by André Vallias. Set of three squared images, the first with two diffrent colors, a red stripe in the top and the rest in black. The other two have a red background, the third image has spikey figures. Text from the first image: "A Encantação pelo Riso" Text from the second image: "ROS".
Open “A Encantação pelo Riso” (Invocation by Laughter) by André Vallias

The André Vallias digital poem ” A Encantação pelo Riso” is inspired by Cubo-Futurist poem “Invocation by Laughter” published in 1910 by russian poet Vielimir Klebnikov and translated into portuguese by Haroldo de Campos in 1985. The original poem presents a new semantic system based on the words decomposition and phonetic experimentation resulting in a work with a strong sonorous appeal.

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“Toward a Circulation of the Page” by Braxton Soderman

Screen capture from "Toward a Circulation of the Page" by Braxton Soderman. Beige background with two eyes spread broadly apart in the image. Many lines of overlapping text written in black, red and blue. Text "encompassing limitations that post- / structuralism fought against) - but they / engender a page-space that vibrates with / malleable potential, a space that can be / reused - and not just can be, but should be!"
“Toward a Circulation of the Page” by Braxton Soderman

This kinetic collage poem is built out of text by Soderman and quotes from eight pieces written by theorists and writers whose work reflects upon the nature of writing in spaces other than the printed page. Cut into lines and blocks of text, each of these textual portions are anchored or set adrift in a “page_space” designed by Soderman to allow them to move and rearrange themselves into new textual combinations. In addition to encouraging readers to click on texts to get other quotes from the same source, Soderman places several objects into the space that trigger different events, such as a book that stops the textual movement when clicked. The behaviors triggered by each of the objects remind the readers of how configurable the space for digital writing can be by enacting some of the concepts brought forth by the quoted writers.

This creative engagement of the potential Soderman saw for digital environments to radically reconfigure the interface of a page led to his 2005 Page Space experiment.

ELMCIP logo with text: “Read more about this work at ELMCIP.”
Link to ELMCIP Knowledge Base entry.

“Of Day, Of Night” by Megan Hayward

“Pentimiento” by Jerome Fletcher

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Open “Pentimiento” by Jerome Fletcher

This narrative poem is a fascinating type of hypertext because instead of having five primary nodes from which to follow linear threads it uses a layering interface for navigation. The reader, instead of clicking on links, scrapes away at images to reveal an image beneath, and can continue to scrape away until she reaches the end of that narrative thread. This allows readers to reveal more than one layer at a time, as pictured above in a screenshot of three layers in the introduction.

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“Chu Ta” by Thomas Bell

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“Chu Ta” by Thomas Bell

“Eclipse Louisiana” by M.D. Coverley

Screen capture “Eclipse Louisiana” by M.D. Coverley.  Red moon atop a black background, words below. Text: "eclipse: what makes the moon. Well, we stopped and got out of the car too. I was suddenly bewitched, I guess, by/-dragged Craig over to the old, closed/up shack, started babbling on about/look newmoon/ crescentmoon/ waxingmoon/ gibbousmoon/ fullmoon/miss disseminatingmoon/ waningmoon/ darkmoon Eclipse Louisiana.
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“Aufschreibesysteme Green ghost echo” by Brian Lennon

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“Aufschreibesysteme Green ghost echo” by Brian Lennon

“Fields of Dream” by Nick Montfort and Rachel Stevens

Screen capture from "Fields of Dream" by Nick Montfort and Rachel Stevens. Numerous empty fields with different names. Text: "Man Of War/Lady Of Peace/goat/python/cougar/re-arming/weapons/magazines"
Open “Fields of Dream” by Nick Montfort and Rachel Stevens