The seventh issue contains visual poetry, constrained writing, essays, mail art, and more: all from 18 international contributors: Abinadi Meza, Bruno Neiva, Christopher Shipman, Danni Wilson, Francesco Aprile, Gregory Gathman, Gunnar Jaeck, JL Bogenschneider, Joachim Frank, Justin Sirois, Kevin Halleran, Kevin Logan, Michael R. Griffiths, Osvaldo Cibils, Patrick Warner, Rehan Qayoom, Susana H. Case, Timothy Juhl, and Tom Konyves.
Andrew Demirjian has a database of audio samples of poets reading their work. The database re-classifies the words from the recordings, alphabetically.
Continue to Mary Oliver A to Z →
he video is set up to mimic this closeness of grief and death. The bess beetle (a stand in for the wife) embodies her grief in the present, while the texts serves as the epitaph.
Continue to Bess →
This work was created by laying out a rule for mapping the hex coding taken from a video and translated into musical notation. The code dictates both the notes and the tempo of the work. The synesthetic translation creates the aesthetic and the possibility of looking at a constant source of information and extracting a diverse possibilities of experiences and understandings.
Continue to Variation on Zero (Song #5) →
This poem is constructed of words made out of Jell-O. The work draws attention to physical construction of letters — the way that the prongs of a capital E tend to wilt downwards with gravity, the way an M‘s legs sometimes stick together — and allow us to encounter the structure of words and the material weight of language in a new, sensitized manner.
Continue to Friday Nights Fish Baked Potato →
A cut-up in thirteen parts, this poem was originally written in Ukrainian, as a tender love lyric in a futurist style. The poem was then given a “sonic translation” so that the English words sound like Ukrainian.
The poem was influenced by the aborted experiments of Yury Tarnawsky (who dropped this concept on the middle of his literary road) and develops techniques of Emma Andijewska (who incorporated them into the form of sonnet) which can be best described by Brion Gysin quote “Rub out the word”. “Rubbing” here lays mostly in sound while the meaning is merely a sketch of the common meaning – a mirage, some kind of confusion.
Continue to Jun as Zen Chre Vo More from Lo →
To create Inside I, Catherine Siller wrote a computer program that randomly chooses three words, each from one of three curated lists. The program also generates sound: a combination of static, a tone reminiscent of a disconnected telephone, and randomly spaced clicks.
Continue to Inside I →
A video poem, using the principles of visual poetry to explore the combinatorial possibilities hidden within two names, this video has the additional distinction of being a live recording.
An experimentation in formal narrative design, “It’s Like That” uses combinations of sampled and original footage to unite poetics and visuals without one being illustrative of the other.
Continue to It’s Like That →
“ancient baby” experiments within the emerging ecopoetic tradition
Continue to Ancient Baby →
A spoken-word, stream-of-thought, gut reaction to lunch.
Continue to Yogart →
Glass Houses is a series of photographs created with distortion mirrors. The resulting images are formed through the spontaneous and spit-second bending of the mirror or body movement.
Continue to Glass Houses →
Spine Sonnet by Jody Zellen is a random poem generator that creates 14 line poems from the titles of art monographs, art theory, art and architectural history and art criticism books.
Continue to Spine Sonnet →
Ghost Station is a nomadic hacking and haunting of Baltimore’s airwaves where urban field recordings are re-broadcast as clandestine FM radio transmissions.
Continue to Ghost Station →
a poem by Ed Zahniser
Continue to All-Purpose Recipe for Dissertations →
This surreal poem is read, one word at a time, by realistic computerized animated characters who seem to be thinking the words.
Continue to Infectious 2009 →
This is an audio-based game design (for Mac and PC) that attempt to expand the expressive vocabulary of games by focusing on fluid sonic experience rather than concrete visuals. In this game the player is landscaping their sonic environment, trimming the loud sounds and watering and growing the small ones, which are almost sub-audible, underground. The goal is to flip and transform the auditory garden until one is surrounded by the subterranean.
Continue to Invisible Landscaping →
This is an interpretation of Shakespeare’s fifty-fifth sonnet, built from a series of animated .gif images.
Continue to Sonnet LV →
This video is challenging and playing on notion of ‘out-of-frame’ and ‘residual’ as it shows only part of the performance. An alternative view of the performance is revealed through perception of cameras, video manipulations, out-of-frame sounds and projections.
Continue to Skin-deep Screens →
“Memory” is an experimental animation that explores the potential of digital media and language. The typography is treated to behave more like the spoken word’s ephemeral quality. Spoken words become memories in the minds that listen – the printed word is permanent. Does the importance of what we say weaken as the urgency to understand a text diminishes? The content of poem speaks to role our memories play while experiencing information and conversation.
Continue to Memory →
This essay is an opinion about the future of concert dance in the United States.
It was written by a dancer and choreographer who was disturbed by an apparent lack of interest in the art form, that is, until she percieved that this stems from the dance world’s resistance to making itself accessible. This article makes a point not to diminish the kinetic energy of the art, but to translate it to the page without any preciousness and perhaps only a slight bias. The author’s hope is that dancing and non-dancing readers can find something to discuss here.
This work is an exploration of negative language, of the idea that every word is a position––posited; there is no such thing as a negative verb. There is no independent word for “to not exist.” There are only auxiliaries and modifiers. There are only (p)repostionings. You can “unravel”, but you cannot “unwrite”: it’s not a verb. You can only “erase”.
Continue to unwriting. →
Nightwatch is visual poetry which interlaces two poems, by alternating and alienating words from each piece, chronologically. Its main shot was originally 10 seconds. It is slowed down to 3 minutes and 55 seconds. It was shot entirely on an iPhone 4S. While this film may appear minimal, in terms of aesthetic and content – it took a little over a year to complete.
Continue to Nightwatch →
After creating and / or collecting 100 pairs of sentences, the artist cuts up each printed word, with scissors, into component words and punctuation marks, which are then dropped onto a blank sheet of paper. Once each component finds its resting place, it is fixed in place with clear tape. Completed pages generally contain two sentences, separated by oversized periods that appear to have snowed down to rest.
Continue to Unknown Family →
“Chrysalis” is a work of hypertext, in a form the author calls a tagnovel. Hyperfiction is generally built around hyperlink usage, but still there are no narratives built on the concept of tags. The tagnovel concept is an attempt to deal with the idea of the world divided in categories, as well as people, relations, social interaction, personal actions and decisions and identity. The narrative explores these concepts of categorization, territories and social practices that are ultimately analogic to our activity on the computer.
Continue to Chrysalis →
[CATEGORIES] is a work of hypertext, in a form the author calls a tagnovel. Hyperfiction is generally built around hyperlink usage, but still there are no narratives built on the concept of tags. The tagnovel concept is an attempt to deal with the idea of the world divided in categories, as well as people, relations, social interaction, personal actions and decisions and identity. The narrative explores these concepts of categorization, territories and social practices that are ultimately analogic to our activity on the computer.
Continue to [CATEGORIES] →
Tom Sheehan submits the following to be explored, considered.
Continue to Rimnents (on cudi, but not y) →
‘Poem #_’ is a low tech video representation of an installation in which a large silent projection meditatively swirls before the audience. Hinting at concrete poetry, the audience takes on the role of authorship, at least an interpretive one. The fragmentation of the text allows the audience a different kind of reading experience, an experience that behaves more like the way we read images.
Continue to Poem #_ →
Share TWITTER FACEBOOK REDDIT EMAIL
Continue to Abstract scene – Television →
All of the 100 lines of this cento come from New York Times headlines. This piece was commissioned by the journalist Justin Nobel for a performance in Blissville, Queens on May 15, 2011.
Continue to “Don’t Blink”: A Cento →
The first poem (“I Dent It Why?”) uses a pseudo-etymological breakdown of the word “identity” to attempt to get at its deeper meaning. The second poem (which is Dearth, Death, and Earth’d, all in one) is a complex randomized matrix of poetry and dictionary and page. The first is a complete chance operations cento. Then, in the second, each noun in the first is replaced with the noun that is found 7 definitions later in the dictionary. Then, in the thrid, the first is cut, shifted and rearranged to form a chance operations text.
Continue to Entymological and Chance Operations Poems →
Infinity’s Kitchen magazine will host a release party in Brooklyn, New York at The Old American Can Factory. The party will celebrate the magazine’s sixth issue of experimental literature, on the evening of June 13, 2013.
Continue to Release Party in Brooklyn, New York →
With apologies for the delay in this announcement, it’s time to say that the new issue of Infinity’s Kitchen will be released on June 13!
Continue to Infinity’s Kitchen 6 →
This spoken word recording is a combination of satire, raw emotion, bad accents, gender issues, with a thin layer of music. It was made in an improvisational situation with slight editing. It is meant to be amusing while expressing feelings of inadequacy.
Continue to Absurdity Happens →
This short piece delves into the subterranean and often chaotic world of a eating disordered woman’s mental life.
Continue to Loneliest Thrill →
The author has kept a diary and sketch book documenting and narrating life for many years. This is a recent entry.
Continue to Ty Uchaf →
“An Alphabet For Jeffrey Vincent” takes its impetus from ekphrastic attempts to “find a vocabulary to balance or “deal with” the recent paintings of Jeffrey Vincent, for “inclusion in a limited edition artist’s book he’s at work on. Given that Jeff had already been at work on his own visual vocabulary, the author offered this alphabet in response.
Continue to An Alphabet For Jeffrey Vincent →
This sonnet is written in a dialect known as London Gangsta Slang, which is a combination of Jamaican Pattois and traditional street slang.
Continue to Sonnet for da Badman →
This text has been compressed, with the addition of crochets to indicate how the poem should be read. The crochet is a mark used in musical notation to indicate a quarter rest. The compressed text (that without spaces) should be read quickly. The words with the periods in between should be read with stops and all crochets should be followed.
Continue to Physiological Arrogance →
This poem is taken from searching different hash tags on twitter. The first line is from a popularly retweeted tweet from the #poetry hashtag. It is a play on an ignorant mother meaning to say rapper instead of racist. From there the author searched related hashtags and modified phrases from tweets that fit the theme of the poem.
Continue to journalism is deader than poetry →
“Google It” is a poetic exploration of the ‘auto-suggestion’ function of the Google search engine, composed partly of phrases that result when entering key phrases such as “how to”, “I want”, “This is” and so on.
Continue to Google It →
From a manuscript entitled “Gossamer Lid”, these are a series of short, compressed poems, each of which aims at being poised at the edge of sense, between the forests of the banal and the pit of the void, and balanced there, for a moment, on the tip of apprehension.
Continue to from “Gossamer Lid” →
Ezra Poundamonium’s Circus of the Expatriate” was first created as mail art to a recipient in New York.
Continue to Ezra Poundamonium’s Circus of the Expatriate →
The use of a strong constraint– that the poem must be readable horizontally as well as vertically– as well as the selection of the letter rather than the syllable as the word’s quantum makes visual poetry more profoundly about the appearance of words on paper than sound- or time- based poetry which happens to be written on paper. Does it make any sense? Rather, we should ask, how does the poet dare be so open, flaying out his unconscious so shamelessly in this manner?
Continue to Batshit →
The poems are “semi-procedural” by virtue of the fact that words for the poems were not initially selected for their “meaning content,” but had been pre-selected by a given procedure that had counted, ranked, and arbitrarily grouped them.
Continue to At the Musarium (4) →
The author classifies this piece as fiction only in the sense that its thesis is speculative. It could also be a long prose poem or, more fancifully, an apocalyptic press release. The piece has neither characters, nor a conventional plot; which tangentially connects it to the “new novel” genre developed by Alain Robbe-Grillet and Nathalie Sarraute. “Anno Domino” is comprised of the fixed number of words that you see here, but its length is arbitrary, and could have been doubled, tripled, quadrupled or reduced to eight words.
Continue to Anno Domino →
This is a poem written in conjunction with Google Scribe: a writing program with one feature designed to suggest statistically likely words or phrases. For each of the sections of the poem, one word was chosen e.g. “I,” “She,” “Nobody.” The program then appointed each succeeding word.
Continue to Nobody Has Liked This Comment Yet →
Weighing in at more than 100 pages, this is the largest edition of Infinity’s Kitchen ever. It includes constrained writing, antonymic poetry, a hypertext cento poem, visual poetry, algorhythmically generated poetry, socially generated poetry, literary criticism, prose in russian doll form and even an apocalyptic press release, all from 15 international contributors.
Continue to Infinity’s Kitchen no. 5 →
Great terror stabs us in “Spooked,” a visual poem, brought to us by Esther Greenleaf Murer. Abstraction and paranoia are just the surface of this grotesque piece. Squint your eyes, for the surprise! Esther Greenleaf Murer lives in Philadelphia. At 75, she is about to publish her first poetry collection, UNGLOBED FRUIT Her poems have appeared in numerous ezines; she was featured poet in the February 2010 issue of THE CENTRIFUGAL EYE, and DRUNKEN BOAT has nominated her “Descort on a Truism” for the 2010 “Best of the Net.”
Continue to Spooked →
Dave Shaw’s “Live Poem” was published simultaneously with its creation, on the blogging website twitter.com. This poem was tweeted at 2000 people, over the span of two minutes, in increments of 150 characters or less. Shaw has work published or forthcoming at Temporary Infinity Press and unsure if I will allow my beard to grow for much longer.
Continue to Live Poem →
“Always” by Lavanya Kannathass is a blend of two forms of poetry: a palindrome and concrete poetry. It could begin with “me” in “me/you” and read through to “you”, at the other side; it could go the other way around, as well. It is in the form of a circle, but not a complete or perfect circle. This suggests something about the union described.
Continue to Always →
This text is written in a style that the author calls “tropism”.
Continue to Don’t Say Nothing →
“I Am Now as I Have Ever Been” is an experiment in time, not only in the subject of the story, but also in the telling of it. Each block of narrative is secluded inside its own space, the way memories can be distinguished in the mind.
Continue to I Am Now As I Have Ever Been →
If time is money as they say they would do well not good to slow it to a snail’s pace to ramp it up? light speed? End Stop . no good let mass decrease to light ness as the bounty grows apace the coffers fill let them/ they/ ride the wall […]
Continue to Killing Time →
This is a work of non-fiction. In some ways, it resembles gonzo journalism both in its depiction of drug use and in its alternation between third and first person narrative.
Continue to In the Shade of the Allan Gardens Greenhouse →
“Headlines” presents a series of video poems, each with no more than three words, in a slideshow format. This format is similar to visual poetry; it shifts the focus from “reading” to “visualizing” simple and bold lines such as “language is whatever”. This is an experiment with the effect that reading these works might have on the reader’s memory, and the associations created there.
Continue to Headlines →
Barr Bielinski’s “Heads or Tails” is a story told in questions. The idea is for you to answer some of them, and that your answers should come from deep in your memory. Your immediate answers are likely to be binary, like a coin toss, “yes” or “no”, but of course other responses may spring from your memory.
Continue to Heads or Tails? →
“Hey” by Brian Baumgart forgoes the formal plot-driven narrative fiction, playing with a direct concept and character; all while developing a single part of a single scene.
Continue to Hey →
Kristin N. McWharter’s “Pennies” is a collection of brief and focused vignettes.
Continue to Pennies →
The clock ticks; the moon waxes; the autumn leaves turn crimson. Time is as ubiquitous as it is elusive. Guided by science and science fiction, All In Time traverses the timeless mystery of time itself. This 25-minute work won the Luc Ferrari International Broadcast Arts Competition and was commissioned by La Muse En Circuit (Centre […]
Continue to All in Time →
This video painting, entitled Jem was created from a screen grab detail the introduction to the 1985 children’s animated show Jem and the Holograms, slowed to 10% and processed. Original music track “030909_A” by Lumendog.
Continue to Jem →
Cake It! has an interface that draws the reader, along with the fiction’s personae, into a central confrontation that emerges from the randomness of its narrative fragments. This collage of characters and events culminates in the segment of the piece that takes place at a national editors convention. This is a dystopian tale, told via digital means. Here, the authors invite you to become immersed in the office, the cubicle, the screen, and to meditate on the subject of women in mid-level, corporate America.
Continue to Cake It! →
A critical view of television and the way that we are raised by it in this media saturated world. A rapid survey of violence, sex, addiction, and war portrayed by television and visualized through hand drawn, black and white animation.
Continue to Cord →
an introduction to the “nascent form” form of the “video-poem”
Continue to My Damascus →
” … liberty is not license. Thus they have reached what is called nominalism, and have asked themselves if the savant is not the dupe of his own definitions and if the world he thinks he discovers is not simply created by his own caprice. Under these conditions science would be certain, but deprived of […]
We’ve all read literature in the usual forms. These forms include poems, short stories, novellas, plays and novels… but for most of us, that’s it! What other literary forms can be written? What else is out there?
Continue to The Experimental Literature Cook Off →
a poem by Michael Johnson.
Continue to Tiny Sparrow Feet →
This cut-up comic combines contemporary mythology of superheroes comics with William Blake’s self-constructed cosmogony. The comic is a mashup of spiritual seeking and entertainment, both of which employ supernatural themes, although in drastically different ways.
Continue to The League of Just on Ice →
Hidden within these texts are the instructions for making perfumes, and for advancing through the ascending levels of the brain puzzle game that they describe.
Continue to Visual Poetry by Maximus →
a short story, told in a manner that resembles duress or paranoia by Jim Meirose
Continue to The Boss →
The contrapuntal poem can be read as a single poem or two related poems in their distinct columns. It can be read backwards as one or two poems, or in a circular pattern, both clockwise and counterclockwise.
Continue to Tinsley’s Pier Portal (contrapuntal no. 2) →
Written as though it were an entry in a dictionary or an encyclopedia, “Spiral” is a verbal improvisation around a theme that eventually spins in on itself.
Continue to Spiral →
“Jazz Criticism Reconsidered,” by Terry Kattleman is made from found texts from Foreign-language reviews of jazz albums, translated and re-translated among several languages, using online translation software.
Continue to Jazz Criticism Reconsidered →
Musician Cameron Scorza has shared with us is latest audio mashup. The obscene vocals sound like a deranged John Wayne.
Continue to Zombies →
This essay explores language and loss. It also explores the futility of language.
Continue to Essential Moments: Herstories and Loss →
The work of Phil Davis, video artist. What a surprise! Two videos are featured here, “Cord” and “Building Blocks”, along with the artist’s commentary.
Continue to Building Blocks →