At 07:43 PM 1/20/01 -0500, you wrote:
>Hello, Komninos,
>
hello candice,
i wanted to reply to your comments, but have been slack.
>I've always wanted a place at the beach, but still don't have one,
>so it was nice to visit your space of a beach. I really enjoyed the
>effect of word-waves rolling toward me as they were being read by me,
>accompanied by the sound of the surf and the gulls cawing overhead.
thanks, this is one of my earliest pieces on the computer, i called it a
textscape, a sort of moving concrete poem.
>After awhile I went and checked out your "Adventures of i," which
>seemed very witty--a sort of narcissist's version of The Dot and the
>Line (if you're old enough to remember that classic?), with its end
>point of "everything is not mine" a logical consequence of "everything
>is not me" and all those prior Piagetian developmental stages you take
>little i through. The toilet-training sequence seemed an especially
>brilliant single frame, while the progression from rocking (cradle)
>through rolling (pram) to strolling (stroller) is a beautifully
>sequenced series (IMHO).
>
thank you, also a primitive attempt at narrative in animated text mode.
i have more sophisticated cyberpoems on my cd-rom but the internet only
allows me to put simple gif animated poems up.
i am starting to work with flash and find i can say more in this software
device.
http://student.uq.edu.au/~s271502/beer.html
http://student.uq.edu.au/~s271502/kev.html
http://student.uq.edu.au/~s271502/love.html
these are three recent pieces in flash.
>You asked elsewhere (and about different works on your sites, I
>realize) if this is poetry, and, much as I enjoyed both works, which
>did both _work_ on and for me, I'd have to say no, not poetry. I don't
>know what to call what you do--and so brilliantly!--but it doesn't work
>the same way poetry does for me (not a value judgment, but a sense of
>difference). I think it's because the imagery is pictorial rather than
>textual, so I respond to it less as a reader than as a film viewer.
i deliberately avoided using images in the pieces because i wanted the
words to do the work, and they obviously have done the work, you have seen
the beach, you have seen a child growing up.
if it is pictorial it is because the words, moving, and in combination with
other words, have created imagery, water, wave, sand, crab, thong, and can,
all make the scene.
For
>me, poetry is something to be read or heard rather than watched, but
>that's just me--what I'm used to--and maybe others have a different
>experience of poetry and/or the kinds of works you create or maybe I
>just need more exposure to what you do, some training in its reading
>perhaps.
i believe it _is_ poetry because you still have to read the words, not just
watch them, there is some processing on the part of the end-user.
it is not just the words being appreciated for their visual qualities,
(which i think is poetry too).
>
>What your works made me realize is that I'm more drawn to hypertexts
>and cyberpoetry that engage texts in the process of creating new ones,
>such as Jennifer Ley's knockout of a hypertext in Snakeskin where the
>dynamic (the hyper part) is the interaction between science and art
>that her text sets in motion--but it's motion I can read as I would a
>still text, and that seems to make all the difference.
i checked out the ley piece, yes, very well done.
but as you say, that is what you prefer. the same could have been achieved
with twelve looseleaf pages, shuffled each time you read them, so that a
new sequence is possible each time.
the writing is good and each individual piece of writing stands up on its
own. but for me this is a translation of an existing form, one that can be
published in print, onto the web, a translation or transmediation to the
web, not solving any new problems of creation for the web.
An example of
>cyberpoetry to which I'm very drawn--again as a _reader_--is Sarah
>Law's beautiful (and beautifully intelligent) Mudlark chapbook, The
>Baptism of the Neophytes. These poetic meditations on medieval and
>Renaissance paintings she studied in Florence and Venice take the
>form of miniatures as a result (Law says in a note) of her having
>brought home postcards of these paintings to use as she wrote her
>poems. She didn't do anything so obvious as construct postcard like
>frames or boxes for her poems, though--their genius is in the small
>scale of the verbal ground that constitutes each poem in the series.
i am not familiar with this work.
>
>Both Ley and Law are engaging their poetry's subjects as reading
>writers (or vice versa), and it's the quality of mind they bring to
>each subject that makes their readings of them so brilliant and so
>inviting to their own readers ultimately. I don't have much patience
>with or interest in hypertexts or cyberpoetry based on shallow or
>stupid or just plain goofy readings of (especially for me, as a
>medievalist) medieval and Renaissance texts, such as are often found
>in e-zines these days, no matter how ingenious the hyper/cyber aspect
>of such works may be. A bad reading is a bad reading....
are you familiar with the work of reiner strasser, or annie abrahams, or
the australian mez. they do interesting new work.
have you had a look at some of the work in the on-line magazine 'riding the
meridean' which jennifer ley edits, there are some brilliant hypermedia
poetry pieces(cyberpoetry, is shorter) in that zine, especially in the two
special issues, one on male-produced new media poetry(aka cyberpoetry aka
hypermedia poetry) and one produced by women.
cheers komninos
>
>Candice
>
>
>
>
>>>Landscape?
>>yeah, poetry that makes you think you are looking at a vista, or a panorama.
>>i have made some 3d landscape poems, eg. 'beach', using the words
>>water(blue), sand(yellow), wave(light blue), crab(orange), thong(pink), and
>>can(silver). the sand is staionary, the water moves, the wave comes up and
>>down over the sand, the crab scuttles out of the water into the word sand,
>>two thongs cross the screen, and finally a can is washed up by the wave.
>>some seagulls squalking as a soundtrack and there you have it a poem, a
>>poem in a digital format, in a 3d environment where motion is a semiotic
>>device, and which is landscape poetry.
>>http://www.experimedia.vic.gov.au/~komninos/beach0.html
>
komninos's cyberpoetry site http://student.uq.edu.au/~s271502
cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/
komninos zervos, tel. +61 7 5552 8872
lecturer in cyberStudies,
school of arts,
gold coast campus,
griffith university,
pmb 50, gold coast mail centre
queensland, 9726
australia.
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