“Tierra de Extracción” by Doménico Chiappe

Open "Tierra de Extracción" by Doménico Chiappe
Open “Tierra de Extracción” by Doménico Chiappe

In Tierra de Extracción (1996-2007) (ELC2), Doménico Chiappe’s first hypermedial novel, the extraction of meaning is generated via interaction and manipulation. Poetry is hidden in the fissures of the earth that slip in order to create motion in the different multimedia layers of the work. The novel is composed of 63 hypermedial chapters, each of them represented by an interactive [key] word. Similar to Hotel Minotauro (2013-2014), Tierra de Extracción is an example of interactive narrative. For instance, in one of the chapters (Mangal/Mango Tree), the reader is invited to learn how to roll a dice interactively in order to unfold the stories that lie behind each of its faces. The interaction with the dice produces an empty mise-en- scène to be fulfilled by aesthetic chance. Rolling the dice becomes the space where chance meets creation.

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“A Dialogue Between Two Eyeballs” by Braxton Soderman

Screen capture from "A Dialogue Between Two Eyeballs" by Braxton Soderman. Black backgorund with stripes of white. text: "B: Well, I don't know how to tell / two things apart, in the / silence of sheer indecision / in the impossibility of / the infinitesiaml, where / the absence of motion / sheds a still nightmare". "
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This kinetic poem is takes the ancient rhetorical and poetic device of the dialogue to investigate the virtual, conceptual, and perceptual spaces of programmable media. Inspired by theoretical writings by John Cayley and Jean-François Lyotard, this poem explores binaries between past and present, old and new, letter and word, simple and complex writing surfaces, and the right and left eye— each of which has a distinct voice and perspective on the topic.

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“Visual Sonnet #1” by Braxton Soderman

Screen capture from "Visual Sonnet #1" by Braxton Soderman. Images are stacking on top of other images. Some have text written on them while others have eyes  of people on them. Text: "Creative Bookbinding" "m n o or r" "Le Hasard" The rest of the text is too small to read.
Open “Visual Sonnet #1” by Braxton Soderman

This generative sonnet is inspired by Raymond Queneau’s Cent Mille Milliards de Poèmes but takes a highly visual approach by using images of poets, book spines, and other images. The images are cropped into strips, much like the line-pages in Queneau’s book, an ideal proportion for book spines (see a similar treatment by Jody Zellen) and the photographed eyes of iconic poets. The lines respond to mouseovers, allowing you to change the work as needed.

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“Toward a Circulation of the Page” by Braxton Soderman

Screen capture from "Toward a Circulation of the Page" by Braxton Soderman. Beige background with two eyes spread broadly apart in the image. Many lines of overlapping text written in black, red and blue. Text "encompassing limitations that post- / structuralism fought against) - but they / engender a page-space that vibrates with / malleable potential, a space that can be / reused - and not just can be, but should be!"
“Toward a Circulation of the Page” by Braxton Soderman

This kinetic collage poem is built out of text by Soderman and quotes from eight pieces written by theorists and writers whose work reflects upon the nature of writing in spaces other than the printed page. Cut into lines and blocks of text, each of these textual portions are anchored or set adrift in a “page_space” designed by Soderman to allow them to move and rearrange themselves into new textual combinations. In addition to encouraging readers to click on texts to get other quotes from the same source, Soderman places several objects into the space that trigger different events, such as a book that stops the textual movement when clicked. The behaviors triggered by each of the objects remind the readers of how configurable the space for digital writing can be by enacting some of the concepts brought forth by the quoted writers.

This creative engagement of the potential Soderman saw for digital environments to radically reconfigure the interface of a page led to his 2005 Page Space experiment.

ELMCIP logo with text: “Read more about this work at ELMCIP.”
Link to ELMCIP Knowledge Base entry.

“When You Reach Kyoto” by Brian Kim Stefans and Geniwate

Open: “When You Reach Kyoto” by Brian Kim Stefans and Geniwate

This collaborative work is built using Geniwate’s (Australian writer Jenny Weight’s nom d’ordinateur) “concatenation engine” and Stephans’ images and text. This “page space” is a computational upgrade to the cut-up, because in addition to randomly joining lines of verse, it cuts them further and places them in different positions of the page, creating multiple lines and readings of the same text. The gorgeous oversaturated images of urban and natural landscapes serve as a backdrop for an explosion of letters in different font sizes and lines of free verse, all of which serve as links to the next piece of the concatenation. The sound clips are nowhere nearly as pleasant as Brian Eno’s “Burning Airlines Give You So Much More,” which has a line that inspired the title of this poem, and perhaps some of its postcard-like visual design and conceptual language choices, such as the frequent use of “you,” “she,” and references to writing.

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“Rude Little Song” by Jim Andrews

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“Birdfall” and “Clone-ing God & Ange-Lz” by Mez

“Birdfall” and “Clone-ing God & Ange-Lz” by Mez

“The Intruder” by Jorge Luis Borges and Natalie Bookchin

Screen capture from “The Intruder” by Jorge Luis Borges and Natalie Bookchin. White background with gray-colored text in prose and a brown basinet on the right-side bottom corner. Text: “People say (but this is unlikely) that the story was first told/ by Eduardo, the younger of the Nelsons, at the wake of his/ elder brother Cristián, who died in his sleep sometime back in/ the nineties out in the district of Morón. The fact that/ someone got it from someone else during the course of that/ drawn-out and now dim night, between one sip of mate and/ the next, and told it to Santiago Dabove, from whom I heard/it. Years later, in Turdera, where the story had taken place, I heard it again. The second and more elaborate version closely/ followed the one Santiago told, with the usual minot vaiations/ and discrepancies. I set down the story now because I see/ in it, if I’m not mistaken, a brief and tragic mirror of the character of those hard-bitten men living on the edge of Buenos Aires/ before the turn of the century (…)”
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“Dans la gueule du loup” by Nicolas Clauss and Jean-Jacques Birgé

Screen capture from “Dans la gueule du loup” by Nicolas Clauss and Jean-Jacques Birgé. Heavily shadowed photograph of a grayscale kitten projected against a cement wall.
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“The murmur of i n t e r s t i c e s” by Rumi and Zahra Safavian


Screen Capture of “The murmur of I n t e r s t I c e s” by Rumi and Zahra Safavian. Black-colored Background with nine pictures, colored accordingly to the white colored word on them.  They are separated in three rows and on each row there are three squared pictures. Below them there is a text: “Head unaware of feet, and feel head./Neither cares. They Keep turning./ Inside water, a waterwheel turns.” The words on the squares are: “winter, dream, moment, summer, delicate, honey, languid, bitter, lake”. The square with the word “winter” has a white and gray background, the one with the word “dream” has a flower with red petals, followed by the square “moment” which has a purple-colored background, then “summer” with a background of bloomed red and orange flowers, then “delicate” with a gray and purple colored background, “honey” with a golden and orange background, “languid” with a picture of the galaxy: blue, black and purple colors, “bitter” with a red background and “lake” with a blue-colored background.
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