Individual Work
White-Faced Bromeliads on 20 Hectares

From first glance, "White-Faced Bromeliads on 20 Hectares" is described as a piece of E-lit that stands to meld the gap between spanish and english as languages into one. That in itself is very true and evident as you first click on the work and see spanish numbers, starting with uno of course, that bring you to a new section each time. Each section is constantly updating, sometimes at a rate of speed that is impossible to fully read what is on the page as a whole at a given time. The reader has the option to wait for the section to revolve back to the text they were unable to finish reading the first time around as well as to move on without finishing it. To me, this can almost be viewed as an expression of one person trying to communicate with another with different languages, constantly trying to pick familiar words from their speech out of the cluster that the individual does not know. This is also shown with the text itself as there is a mix of spanish and english throughout each section that has very few complete meanings to decipher within the jumbled broken sentences around them. Someone with the patience to look through this and understand how one person must feel when trying to accurately communicate their message to someone of another language can definitely appreciate the difficulty that arises in that situation.

When looking at the source code within the page itself, there is a note from the author of the poem regarding this process as well that reads:

Allow this page to cycle for a while, so
you can take in some of the images and variant titles. When you are
ready, press begin. Once there, read each page
slowly, watching as each line periodically re-constitutes itself
re-generating randomly selected lines with that line's
variant. Eight-line poems have 256 possible versions; nine-line poems
have 512 possible versions.

The note is also present at the beginning of the poem as fine print at the bottom of the opening menu before beginning the experience. This only stands to solidify the author's originally-presumed message of patience towards the ever-changing menus the poem centers around. That being it's biggest strength, some who wouldn't see this message otherwise would likely become too frustrated with each set of revolving text in all eight sections to fully embrace the nature of the work.

There are also images of Costa Rica that accompany the opening title for each section, showing beautiful sceneries and landscapes. I believe this is for the sake of understanding the heritage of another person and where they've come from that has made them the person they are as well as the reason they continue to use their own language or a mixed group of both english and spanish rather than one or the other. As you reach the 8th section, or ocho in spanish, you are then prompted with going back to the beginning of section "uno" to start the poem over again. This may be to symbolize how these differences in language and culture shown in the poem itself are an everyday process that is never ending for those involved. The poem itself was initially very frustrating to read given its constantly changing nature. There were many points where I wanted to stop attempting to read it and just pick a new poem from our list. In tern, I continued to read as it became more clear that this as well felt as though it was an intended effect by the author to really make the reader think about how frustrating it must be for someone immigrating from Costa Rica to a dominantly english speaking country to just relay even the most minute messages in their everyday lives. Even tasks such as asking for directions from a stranger or ordering food from a restaurant would become gargantuanly greater. It is a burden that people living in their country of origin couldn't possibly understand fully and I really enjoyed reaching that realization through reading this poem.