This tribute to the work of Jean Pierre Balpe is challenging because the reader must figure out the poem’s logic in order for them to progress through this e-poem. I can imagine many readers will not reach the end of this work, particularly if they cannot read French, and that’s okay, because this piece responds to what Philippe Bootz calls “l’esthétique de la frustration” —the aesthetics of frustration (link).
To enter the space of this poem with the goal to traverse it to the end is to enter into a game with Patrick Burgaud— or the logic and intentions he programmed into his poem. And there are both pleasures and frustrations in this game. Bonne chance!
This excerpt from Passage, an ambitious work by two e-poetry pioneers, is both theoretically interesting and aesthetically pleasing. As a generated text designed to never be displayed the same way, it cannot be reread the way one can do so with a printed text. At the same time, one can only intuit the logic of its mutability by rereading it with an eye for its variations. And because it is programmed in Director and published as a Shockwave file, we have no access to its source code.
No worries, though: its animation, music, and language combinations are delicately nuanced and intellectually stimulating. There is much pleasure to be found in its variations.
This “short story-poem-comic strip-musical” by Chris Joseph and María Colino consists of 10 highly stylized Flash pieces in the Dada and Constructivist traditions. Two particularly arresting poems are “River” and “Sex/Conception” (see images above) because of how they use their images and randomly generated texts.
The simple yet unexplained interface for this sexy Flash poem is a metaphor for the subject of the poem—kids who barely know how to drive (or interact romantically) cruising in a small town in Wisconsin— because the reader is also a novice on how to read and navigate this poem.
The guitar music and clear voice delivering the aural version of the poem, presented simultaneously with the visual text the reader must learn to traverse in order to read, and the pictures of cars, streets, and neon signs combine well to deliver an immersive, and very hip, experience.
With this series of collaborative e-poems, Andrews uses the cut up, an important technique in his poetics that aligns him with the work of William Burroughs, Bryon Gysin, Raymond Queneau, and Surrealism. His ingredients include e-mails, quotes, concrete poetry, and essay like writing, lovingly sliced with DHTML programming tools. Jim Andrews and his collaborators prep the texts for stir frying, cutting and linking where they see fit. The computer provides the energy to run the scripts and heat up the surface on which the texts are displayed. The reader’s hand, by way of the mouse and its virtual pointer on the screen’s surface, stirs the texts, cooking them up into new combinations and possibilities for his/her consumption.
For more on the Stir Fry Texts and a close reading of “Spastext” read “Cut Up, Heat, Stir” in my dissertation (pgs. 184-205).
In this piece, Jim Andrews curates and meditates on a selection of proto-digital poems by Lionel Kearns from the 1960s to the present. Heavily influenced by McLuhan, Kearns intuited that “if one messes around enough with the physical form of language (either spoken or written), eventually you get to the point where it (the language) drops its load of conventional reference” and created works of visual and sound poetry “right on that edge, where language begins to work into either music or visual art.”
As a sound and visual poem in the Lettriste tradition, Nio consists of a set of glyphs made of stacked letters, each of which plays its own musical phrase— a recording of Andrews’ voice— and its own animation. Verse One allows readers to layer sounds and animation, while Verse Two allows both layering and sequencing.