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              <text>&lt;a href="http://komninos.com.au/underground/entry.html"&gt;http://komninos.com.au/underground/entry.html&lt;/a&gt;</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=400"&gt;http://iloveepoetry.com/?p=400&lt;/a&gt;</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=400"&gt;Heather McHugh's description from I love E-Poetry&lt;br /&gt;&lt;/a&gt;</text>
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                <text>Cyberpoetry Underground</text>
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                <text>Zervos, Komninos</text>
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                <text>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.&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=400"&gt;Heather McHugh's description from I love E-Poetry&lt;/a&gt;</text>
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                <text>State of the Arts anthology CD Electronic Literature Organisation/The Other Voices Poetry Project</text>
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                <text>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.</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=401"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>Zervos, Komninos</text>
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                <text>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.&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=401"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>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.</text>
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              <text>&lt;a href="http://www.wordcircuits.com/gallery/childhood/index.html"&gt;http://www.wordcircuits.com/gallery/childhood/index.html&lt;/a&gt;</text>
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              <text>&lt;a href="http://directory.eliterature.org/node/370"&gt;Tammy Suzor&lt;/a&gt;</text>
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                <text>Zervos, Komninos</text>
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                <text>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".&lt;br /&gt;&lt;a href="http://directory.eliterature.org/node/370"&gt;Tammy Suzor&lt;/a&gt;</text>
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                <text>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.</text>
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                <text>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.</text>
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              <text>&lt;a href="http://elmcip.net/creative-work/exquisite-corpse-poems"&gt;ELMCIP: Electronic Literature as a Model of Creativity and Innovation in Practice&lt;/a&gt;</text>
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              <elementText elementTextId="3687">
                <text>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.</text>
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          <description>Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime</description>
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              <text>&lt;a href="http://www.studiocleo.com/cauldron/volume2/confluence/kominoszervos/index.html#"&gt;http://www.studiocleo.com/cauldron/volume2/confluence/kominoszervos/index.html#&lt;/a&gt;</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=192"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>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.&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=192"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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              <elementText elementTextId="3688">
                <text>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.</text>
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                <text>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.</text>
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              <text>&lt;a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html"&gt;http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html&lt;/a&gt;</text>
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          <description>The URL of a related web page such as a YouTube clip or Vimeo, included as an HTML link.</description>
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              <text>&lt;a href="http://iloveepoetry.com/?p=402"&gt;http://iloveepoetry.com/?p=402&lt;br /&gt;&lt;br /&gt;&lt;/a&gt;</text>
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          <name>Artist Statement</name>
          <description>A statement about the work, as provided by the artist(s).</description>
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              <text>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. &lt;a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html"&gt; Statement from author's website&lt;/a&gt;</text>
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          <name>Platform</name>
          <description>Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime</description>
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              <text>gif animation</text>
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              <text>Web based digital poetry</text>
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            <elementText elementTextId="3127">
              <text>&lt;a href="http://iloveepoetry.com/?p=402"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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          <name>Source of Artist Statement</name>
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              <text>&lt;a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html"&gt;Statement from author's website&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>Zervos_adventures</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Adventures of i</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="2888">
                <text>Zervos, Komninos</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1995</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>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.'&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=402"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/iwb/intro.html"&gt;Source of Artist Statement&lt;/a&gt;</text>
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                <text>English</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Animated gif</text>
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                <text>Concrete poetry</text>
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                <text>Cyberpoetry</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3690">
                <text>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.</text>
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        <name>Animated gif</name>
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        <name>Concrete poetry</name>
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      <tag tagId="214">
        <name>Cyberpoetry</name>
      </tag>
      <tag tagId="215">
        <name>Komninos Zervos</name>
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