Infinity's Kitchen № 7

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.

Mary Oliver A to Z

Andrew Demirjian has a database of audio samples of poets reading their work. The database re-classifies the words from the recordings, alphabetically.

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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.

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Variation on Zero (Song #5)

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.

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Friday Nights Fish Baked Potato

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.

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Jun as Zen Chre Vo More from Lo

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.

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Inside I

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.

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It’s Like That

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.

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Glass Houses

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.

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Spine Sonnet

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.

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Ghost Station

Ghost Station is a nomadic hacking and haunting of Baltimore’s airwaves where urban field recordings are re-broadcast as clandestine FM radio transmissions.

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Invisible Landscaping

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.

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Skin-deep Screens

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.

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“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.

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Erratic Thoughts on an Art Form Nobody Cares About Unless Natalie Portman is Making Out With a Girl

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.

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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”.

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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.

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Unknown Family

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.

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“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.

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[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.

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Poem #_

‘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.

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Entymological and Chance Operations Poems

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.

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Absurdity Happens

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.

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Ty Uchaf

The author has kept a diary and sketch book documenting and narrating life for many years. This is a recent entry.

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An Alphabet For Jeffrey Vincent

“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.

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Physiological Arrogance

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.

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journalism is deader than poetry

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.

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Google It

“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.

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from “Gossamer Lid”

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.

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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?

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At the Musarium (4)

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.

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Anno Domino

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.

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Infinity’s Kitchen no. 5

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.

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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.”

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Enter Key

This work bears some resemblance to the automatic writing or automatism that was practiced by the surrealists. Its title and character spacing suggest a very rapid movement over the keyboard, in an attempt to capture raw, direct thoughts. Photo by aditza121.

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“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.

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Killing Time

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 […]

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“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.

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Heads or Tails?

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.

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“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.

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All in Time

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 […]

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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.

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Cake It!

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.

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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.

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DADA, DADA, Won’t You Please Come Home: Tropism in the Writing of Poetry

” … 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 […]

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The League of Just on Ice

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.

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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.

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Musician Cameron Scorza has shared with us is latest audio mashup. The obscene vocals sound like a deranged John Wayne.

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