From recipes found in free local magazines, the striking words were plucked out, to tease out alternative combinations, and to find an underlying thread of thought that may or may not have anything to do with the dish being created.
Recipes are, for the most part, written to be condensed and informational. However, a few well chosen words can convey a tone of voice or an emotional leaning that elevates the instructional to the intriguing.
The text is constructed from three language sets: the first is chapter headings of ten rearrangements of words (attributed to George Santayana), 'Those who forget the past are condemned to repeat it.' The second set are ten paragraph-long chapter glosses in the manner of 19th Century novels, summarizing a narrative we never see in full. The third is paragraphs of surreal imagery working from the implications of the glosses, written in the over-heated, breathless tone of old melodramas or movie coming attractions.
This is a style of drawing invented using ballpoint pens. Everything you see in this piece was created using a pen, a brush, and acetone. This style is built up in three layers repeated until the desired effect is complete. The acetone breaks down the ink into a watercolor-like media, used to create and destroy throughout the process.
These found-word collages (from a series in excess of 1300) explore the accidental syntax of unintentional phrases: each poem is made up of three to eight text fragments from multiple sources, each the approximate equivalent of a poetic line. It’s a visual process-–the words, the torn edges, the small cascade of phrases afloat on the background-–somewhere between Dada and Twitter, between ransom note and haiku.
Experiences are to memories what ingredients are to recipes.
Logline: character study for the film script turned into delerious stream of images. Written as a list. Using lines or titles from the various works - they may or may not uncover some side of character - but as the whole they add up in a very funny way.
Part of a series, Champion of My Heart explores the importance of pop culture in our lives. We consume an inordinate amount of pop culture and it is important to us: why isn't poetry written about it?
This piece extends Raymond Queneau's seminal 1961 piece 'Cent mille milliards de pomes'. It uses 14 conjunctions, 207 pronouns/names, 584 verbs, 362 adjectives, 100 colour names, 1258 nouns, 4 punctuation symbols, 16,777,216 colours and up to 60 lines to create a potential of 310,000,000,000,000,000 million (310 sextillion) variations.
This work includes an original drawing transformed into a moving image puppet used to express a short form poem through video
Crone print 1 is a microplay within an image poem. The illustration (pen, ink, and wire on paper) creates the landscape the text navigates, and from this the poem emerges. The microplay then plays itself against the reality created by the poem. I consider this an experimental form of theatre in that it bends the conventions of a play text and how language performs through the collocution of the poem and play.
The epigraph may be translated “You are blind in your ears and mind as well as in your eyes.” Sophocles. Oedipus Tyrannos, line 371.
Poem typed in white on white. The sound of it read out loud is edited to unrecognition.
A story integrated into a recipe descripts the toxic effects of narcissism. Is this story about two people?
an attempt to expand the scope of philosophy’s pedagogy via structured conversations, dialogical games, improvisational scores, and performance art.
The author pretended to be a bus driver from Chicago, a real individual that exists. He took the persona on and decided to write poetry as him, made a website, and everything. This is an essay about what happened.
A web browser randomly loads sentences (in some cases, one word sentences) that refer to ideas of traditional artistic practice within a digital context (commodification, artistic bias, artistic tradition, etc.), juxtaposing the ways in which we've historically thought and spoken about art with the democratizing nature of the Internet.
Of her double philosophic and artistic formation, Sandrine Deumier builds a protean poetic work centered on the question of the technological transfers and the performative place of the poetry through the technologies.
YADDP/You're Already Drinking Dead People/Y+P EP is a suite of sound works which explore the potential for failure: in the voice, in computer data, in our logic systems. Its form references the bundled folders we extract music from in a post-file sharing economy, where the line between cultural consumer and producer is increasingly blurred. Little now stands in the way of releasing music to a mass audience, and as a result industry standards that, until very recently, strictly governed quality are eroding. For all our efforts to internalize and mimic the crispness and professionalism of yesteryear's commercial standards, more and more, flaws and errors creep into what are essentially homespun releases (remember that Taylor Swift song: white noise).
555 is a collection of sonnets whose construction is database-driven and relies on text analytic software. I crunched and analyzed Shakespeare's sonnets to arrive at averages for word, syllable and character (inclusive of punctuation but not spaces). These averages (101 words, 129 syllables, 437 characters) became requirements for three groups of sonnets. I collected lines from anywhere and everywhere in the air or in print in a database. The lines are all found, their arrangement is mine. Values for word, syllable and character were recorded. Typos and grammatical oddities were preserved; only initial capitals and a closing period have been added as needed. The selection of lines isn't rule-driven and inevitably reflects what I read, watch, and listen to, thus incorporating my slurs and my passions as well as what amuses and disturbs me. These sonnets were assembled using nonce patterns or number schemes; by ear, notion, or loose association; by tense, lexis, tone or alliteration. Every sonnet matches its targeted average exactly. Think of Pound's 'dance of the intellect among words' then sub sentences for words'it is amongst these I move. The dance in question traces out a knot (better yet, a gnot) that holds together what might otherwise fly apart. I espouse only the sonnets, not any one line.
Process Mundane is an ongoing series of emails designed to help those who face daily drudgery take a more microscopic look at their drudge. Gleaning inspiration from self help evangelism, Allan Kaprow and Alan Watts, Process Mundane takes a deeper look into the roots of monotonous tasks, evaluates each task, and offers people alternative ways of performing each task. The end goal for "Process Mundane" is to give a sense of play, experimentation and creativity to the particularly lackluster moments most people tend to forget about.
French experimental digital poetry and field recording
a video mash-up of Jimi Hendrix's and Whitney Houston's respective renditions of the Star Spangled Banner transformed into the artist's own interpretation of the song.
This is a video-poem in which the text becomes an image and the image is text.
“On January 9, 2013 my childhood friend Stephen Harkness and two other men murdered and dismembered Daniel Delfin in Verona, Kentucky. Through the analysis of childhood memories as well as court evidence, I aim to gain clarity in these acts as well as relay the effects this type of event can have on the families involved, who in turn become victims themselves.”
Andrew Demirjian has a database of audio samples of poets reading their work. The database re-classifies the words from the recordings, alphabetically.
"The Seven Wonders" looks at the wonders of the western world, and a solitary exploration of a kitchen, as a man deals with his absent girlfriend. This work reduces a story to its basic narrative form through the use of archetypal images, video, animation, and text.
Arlington is a bit of hypothetical anthropology. It skirts the line between documentary and fiction.
Caity Fares created these luminous, 35 mm color film images with a homemade mannequin-head camera. Projector lenses in the eyes, a strip of color film in the back of the head, and inevitable light leaks in the construction capture what appear to be shadowy mountain ranges, wisps of chemical gas, and muted city lights.
improvisational music that uses the movement of balloons to generate sounds. Placing contact microphones on the balloons provides additional sound texture.
In the text art series called “bouquets,” Bruno Neiva merges painting and typography, using acrylic on small cardstock sheets in a random fashion, generating minimal, abstract shapes and unpolished, rugged textures, with transfer lettering applied to create fragmented typography.
ECT (ElectroCaustic Trio) + Visual_Projects, is a joint venture between musicians and visual artists, which conducts research aimed at creating an assembly language between the two activities, through free musical improvisation and aesthetic interpretation through visual arts.
"Impossibilism in Motion" was inspired by The Children's Crusade, a mysterious event that took place around 1212, when, according to scattered comments in chronicles, thousands of children undertook to free the Holy Land. There were two separate crusades marching to points in Italy where the movements dissipated.
Shipman's play of memory and despair inspired by Joseph Cornell utilizes experimental poetry rather than conventional dialogue and stage direction. Some traces of conventional stage direction and dialogue do remain.
This video describes grief and death. The bess beetle embodies grief while the texts serves as an epitaph.
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.
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.
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.
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.
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.
A spoken-word, stream-of-thought, gut reaction to lunch.
'ancient baby' experiments within the emerging ecopoetic tradition
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.
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.
Ghost Station is a nomadic hacking and haunting of Baltimores airwaves where urban field recordings are re-broadcast as clandestine FM radio transmissions.
This surreal poem is read, one word at a time, by realistic computerized animated characters who seem to be thinking the words.
This is an interpretation of Shakespeare's fifty-fifth sonnet, built from a series of animated .gif images.
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.
“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.
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".
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.
[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.
Tom Sheehan submits the following to be explored, considered.
'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.
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.
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.
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.
These poems, collages of interesting things, are what the author calls "micro-climates
This short piece delves into the subterranean and often chaotic world of a eating disordered woman’s mental life.
The author has kept a diary and sketch book documenting and narrating life for many years. This is a recent entry.
“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.
This sonnet is written in a dialect known as London Gangsta Slang, which is a combination of Jamaican Pattois and traditional street slang.
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.
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.
"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.
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.
Ezra Poundamonium's Circus of the Expatriate was first created as mail art to a recipient in New York.
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?
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.
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.
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.
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."
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
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
“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.
This text is written in a style that the author calls “tropism".
“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.
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.
This series of video poems, each with no more than three words, in a slideshow format, is similar to visual poetry; it shifts the focus from reading to visualizing. Simple, bold lines declare things like, "language is whatever."
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.
'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.
Kristin N. McWharter’s "Pennies" is a collection of brief and focused vignettes.
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.
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.
an introduction to the "nascent form" form of the "video-poem"
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?
This is a comic by Dina Kelberman. She has other comics featured in the fourth issue of Infinity's Kitchen
. You can find more of her online antics at Important Comics
and on the fashion blog that she co-authors, lloookk
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.
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.
a short story, told in a manner that resembles duress or paranoia.
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.
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.
This text is made from Foreign-language reviews of jazz albums, translated and re-translated among several languages, using online translation software.
Musician Cameron Scorza has shared with us is latest audio mashup. The obscene vocals sound like a deranged John Wayne.
This essay explores language and loss. It also explores the futility of language.
An experiment in idiotic repetition and endurance as viewed by multiple spectator camera witnesses in a warehouse in the middle of the night.