Detail: Interactive poetry cubes allowing multi-linear/dimensional play and reconfiguration.
One possible reading is as 3-dimensional concrete poetry sculpture generator. ….. The cube interface allows the reader to move the interface in 3-dimesional space, with the all elements placed on the cube transforming in proportion to the cube’s movement, perspective and warping is reasonably maintained as the cube is moved. Furthermore, each of the rows and columns can be moved to further recreate the placement and graphical nature of the poem. Each of the sides of the poem are colour coded to give the reader a reference point for the initial configuration of the interface, so changes become more apparent.
My earlier version is an interactive database driven tool:
T: The Poetry Cube
A learning tool designed by myself and programmer Rory Hering. The Cube allows users/poets to enter a 16 line poem, with those lines automatically placed within the multi-layered sections. Use the buttons to move in and out, recombining the poems by turning the Cube upwards, downwards and inwards. Built to act as a bridge between the print and digital worlds.
Why a cube?
Why are these elements of dimensionality/multimedia/interactivity important in a digital poem? And also does the newest Cube version make the previous creations (like updated versions of software) failures and delete-able? As for the later question, I would love to wax romantic about how all creations are important, either within a historical context or because they hold together as digital poems despite their shortcomings. And while this might be true for scholars or readers of my work, as an artist I see the first two cubes as experiments, trial runs, explorations of a form. I suppose an argument could be made about how all creations are experiments leading to the next generation of poets. And while this is something I will revisit later, I can say my intentions with the first two were firmly as playgrounds. While the last cube is an attempt at a complete work, or rather a complete interface. I make the distinction between work and interface, because most of the digital poems I create are in flux, in constant states of revision.