The Adventures of i
Animated gif
Concrete poetry
Cyberpoetry
This narrative 'cyberpoem' started in 1995 with the goal of developing into a lengthy 'soapie' about the life of i. The project obviously didn't go on for a long time, though the 18 webisodes plus two alternate guest webisodes collected here are a testament to an ingenious exploration of the narrative potential of animated Concrete Poetry. Each piece is an ingenious animated GIF that illustrates and comments upon a moment in the early life of a character named i. The personification of the typographical character i and the transformation of other words into objects that i explores and interacts with truly exemplifies the Noigandres group's description of Concrete Poetry as 'tension of things-words in space-time.'<br /><a href="http://iloveepoetry.com/?p=402">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
<strong>Artist Statement</strong><br />This piece is a narrative cyberpoem which i first began working on in 1995 for my cyberpoetry CD-ROMs. That version, called "reality is a construct" was created in logo-motion in 3D and ran for seven minutes. This version, because of different connection speeds, different browsers, different hosts, etc., has to be restricted to animated gifs and whatever comes packaged with Netscape 3.<br /><a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html">Source of Artist Statement</a>
Zervos, Komninos
1995
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_adventures
Java Poems
Cyberpoetry
HTML
Java
Kinetic
Responsive
This trio of early e-poems were written in HTML and use Java applets to shape their linguistic texts with a careful touch. 'Infinity' and 'Internet Junkie' both change the colour of the text over a schedule to shape readings and to imbue them with a nervous energy. In 'Infinity' (displayed above) the rarely used tag reinforces the instability of textual meaning as the phrases can be read with and without the three blinking words, 'reality,' 'literary,' and 'Why?' In 'Internet Junkie' the increased rate of colour change from one stanza to the next mimics the increasing urgency of the addict's need. The final poem in the piece uses the 'NervousText' applet by Daniel Wyszynski to animate its words, 'KOMNINOS is a poet,' which can be soothed into static stability with a mouse click.<br /><a href="http://iloveepoetry.com/?p=403">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
Zervos, Komninos
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_javaPoems
Gif Poems
Animated gif
Cyberpoetry
HTML
This selection of six poems built with a type of composite image known as animated GIFs used to create the earliest animations in the Web. In Zervos' experienced hands (see his 'Dimocopo' suite), this simple technology can be very expressive indeed, as can be seen in 'Divorce' a kinetic concrete poem that uses moving typography to highlight some of the finer points in a divorce process.<br /><a href="http://iloveepoetry.com/?p=192">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
Zervos, Komninos
2000
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_gifPoems
Exquisite Corpse Poems
Cyberpoetry
Exquisite corpse
Generative
A suite of five online poetry generator that produce a shifting lines of poetry in the manner of an exquisite corpse.<br /><a href="http://elmcip.net/creative-work/exquisite-corpse-poems">ELMCIP: Electronic Literature as a Model of Creativity and Innovation in Practice</a>
Zervos, Komninos
1996
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_exsquisite
Dimocopo - digital moving concrete poetry
Animated gif
Cyberpoetry
Digital moving concrete poetry
HTML
Kinetic
This suite of 28 early animated poems from 1995-1997 were created as animated GIFs but are really powered by a vibrant enthusiasm over the ability of computers to write kinetic language. In this suite, we see words morph into other words and into objects, words whose movements evoke their meanings, words used to build landscapes full of objects (a decade before WordWorld), and phrases reconfiguring and reshaping themselves into new ones - as is the case with 'she left' (above). This poem is very economical with its language resources, yet so effective in describing the psychological process of a breakup in a relationship.<br /><a href="iloveepoetry.com/?p=404">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
Zervos, Komninos
1995-1997
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_dimocopo
Childhood in Richmond
Cyberpoetry
Hypertext
Interactive poetry
Speech work
In Childhood in Richmond, Komninos Zervos uses a collage of photos to tell a story about his life in 1950s Richmond, Victoria. The piece begins, 'I remember my childhood in the backstreets of Richmond/And the visions that leave a lasting impression/ Where I lived in a fish shop with my mother and father.' Black and white photographs appear on the screen as negatives. The opening page contains rollovers that trigger visual changes and audio clips. As the reader advances through the poem, the photos change colours and are more distinct. Black flies and fish float over the collage of photos. By clicking on a specific black fish or black fly, the poem will advance to another collage of photos. The names of fish appear superimposed over the photos, referencing a segment of the poem, 'And flake and couta and bream and schnapper/ To the window, to attract the eyes of the buyers.' These function as links to a line of the poem, which may link back to the same page. This interactive Flash piece provides a poetic experience, as Zervos narrates his poem with spoken words. The dynamic presentation is supported by instrumental drums and cymbals, accentuating the narrative. The poem ends with Komninos remembering his mother, 'And her legs would swell up from all of that walking/ And I often saw her in some corner crying/ In a fish shop, in Richmond, from where I came".<br /><a href="http://directory.eliterature.org/node/370">Tammy Suzor</a>
Zervos, Komninos
Word Circuits
2001
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_childhood
Flash Poems
Cyberpoetry
Kinetic
Responsive
The first two of this list of poems stand out because of their use of Flash. Komninos' approach to Flash in his poem 'Beer' is similar to the work he published in animated GIFs: a sequence of words, morphing from one to the next producing surprising and amusing juxtapositions. It is with 'Love' (image above) that he took advantage of Flash's strengths: responsiveness to user input and audio synchronization. 'Love' creates a simple interface that triggers some not-lovely sounds when moused over or clicked on. The words readable within its circles are replaced by their opposites, portraying love as a kind of minefield full of triggers that can turn trust into jealousy, heartache into separation, or simply cause pain.<br /><a href="http://iloveepoetry.com/?p=401">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
Zervos, Komninos
2003/2005
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_flashPoems
Cyberpoetry Underground
Cyberpoetry
Interactive sound poetry
Multimedia
A perceptual joy-ride, full of visual attractions and sonic energies, cyberpoetry underground is notable for its sheer momentum and solid graphic punsmanship. Animated text, three-dimensional letter-forms and 360-degree views turn electronic space into an extra-literary passage, certain areas of which the viewer can negotiate. At the end of some tunnels are the objects of cybertext poems, graffitissimi ultimately serving to remind us that getting there can be more than half the fun. For romping humor, cinematic verve and swerve, cyberpoetry underground earned its place among the top three.<br /><a href="http://iloveepoetry.com/?p=400">Heather McHugh's description from I love E-Poetry</a>
Zervos, Komninos
State of the Arts anthology CD Electronic Literature Organisation/The Other Voices Poetry Project
2003
Copyright Komninos Zervos. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Zervos_cyberpoetry