“Deal with it” is a meme based on a popular phrase or expression that uses image macros and/or animated GIFs as a snarky response when someone else notes disapproval, most frequently used online forums or social networks. This meme is characterized by an image of an iconic person, celebrity, or event, accompanied by the descending of sunglasses upon the subject’s face and revealing a caption which says “Deal with it.”
10:01 is a hypertext novel set in a movie theater during the ten minutes running up to the screening of the film. The text was published in 2005 in The Iowa Review Web. It consists of the image of a darkened cinema where black silhouettes sit in various rows. This image serves as one of the possible ways to navigate the text. By clicking on a figure, we read from one to five texts, each of them advancing the narrative. The text can also be navigated by using the time bar, but the reader does not feel constrained to read it chronologically. Each of the characters has its own story, which is told by an omniscient narrator that has access to their innermost feelings, hopes, fears and desires.
Even though critics like Alice Bell, Astrid Ensslin and Hans Rustad describe it as a “Web-based version of Olsen’s print Novel” (Analyzing Digital Fiction, Routledge 2014), the authors state in the credits that: “A print version of 10:01 that complements rather than reiterates this hypermedial version is available from Chiasmus Press.”
The novel is built using a combination of HTML and Flash, which allows video and sound when required by the story. The sounds represent a particularly significant contribution to this work, by setting both tone and pace. The text also presents hyperlinks (although some of them are broken) which alternatively illuminate or complicate it. The brilliancy of this work resides in the shifting tone, from harsh and critical to satirical and funny. If you would like to know how a real shrunken head ends up in a cinema in the Mall of the Americas, you should read it. You might also discover that “America… is a land of excellent pies.”
Featured in The Electronic Literature Collection, Volume 1.
Davis portrays her view on theories of how women are seen in society by using pictures and interactive digital media. “Pieces of Herself” uses a drag and drop interface by using a dress-up doll which gives readers opportunities to customize their exploration of the poem. The character is portrayed as a kind of dress-up doll that appears on the left side of the window, while readers visit the woman’s house and discover different items to place on her. Every time something is placed on the dress-up doll, it triggers an audio clip and a short, looping animation that remains on the doll. The fact that we cannot remove any of these animations is a comment on the irrevocable layering of experiences on a young woman as she is shaped by the world that surrounds her.
As you explore the poem, notice the speaker’s tone when describing the scenery. What importance does the phrase bring to the poem’s context? Colors and images emerge as the mouse clicks on the interface, and each one has a special meaning to the doll’s life. Consider the small visual and aural parts of the work and search for the meaning of every sound individually and as it combines to produce a complete artistic experience.
One should not allow the tone of “Frequently Asked Questions about ‘Hypertext'” mislead us into thinking that it is just a parody. The opening poem “Hypertext,” composed of seemingly random words arranged in three tercets, acquires meaning through the explanatory notes that are hidden in the different hyperlinks. And each of those hyperlinks might offer new insights, that become wilder and wilder as the reader picks up new meanings and explanations in the context provided by the hypertexts. The words, naturally, are not random. They are a series of permutations and anagrams of the word “hypertext.”
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.
This collaborative work is built using Geniwate’s (Australian writer Jenny Weight’s nom d’ordinateur) “concatenation engine” and Stephans’ images and text. This “page space” is a computational upgrade to the cut-up, because in addition to randomly joining lines of verse, it cuts them further and places them in different positions of the page, creating multiple lines and readings of the same text. The gorgeous oversaturated images of urban and natural landscapes serve as a backdrop for an explosion of letters in different font sizes and lines of free verse, all of which serve as links to the next piece of the concatenation. The sound clips are nowhere nearly as pleasant as Brian Eno’s “Burning Airlines Give You So Much More,” which has a line that inspired the title of this poem, and perhaps some of its postcard-like visual design and conceptual language choices, such as the frequent use of “you,” “she,” and references to writing.
This video poem is built from a dual juxtaposition of language and image and an image with itself. A steady stream of language scrolls horizontally on the screen in a manner suggestive of a news ticker providing a prose poem that uses grammar and the window size to offer a sense of the line. This creates a disconnection between the line we read now and the one we read a few seconds or a minute from now: it is the same line, but we are witnessing a different portion of it. The way the work handles the images is similar. The window displays a portion of the image, and then moves (or does the image move?) so the reader can see different parts of the photograph. Interestingly enough, a semi-transparent snapshot of the original view moves along with the window, emphasizing the disconnection between the initial and current perception of the piece.
Now read the poem, keeping in mind how it meditates upon the past and present of urban spaces, and our perceptions and changing relations with both.
Conceptually, this piece echoes Ezra Pound’s famous quote “Literature is news that STAYS news” and William Carlos Williams response: