- mémoire involontaire no. 1 (2008)
This text is an experiment in the involuntary performance of memory – forever departing from the moment of its inscription while forever attempting to return to the script and source of its unfolding.
An experiment in the visual rhetorics of textual dialogue.
- Cloud #1(2007)
An experiment in real-time writing using continuous word substitutions.
Surrounded by four giant close-ups of cinematic starlets gazing down upon you, there is no choice but to look (or look away). Using the built-in “headtracking” feature of the Cave, a portion of the starlet’s face in your line of sight fades away, thus interrupting the (masculine) desire to possess through the gaze: you cannot help but see through what you desire to possess.
This short, time-based project was a simple excursion in cave poetics. White pieces of punctuation marks and textual symbols blow about the cave, concealing and revealing black lines of a poem which move over and under the sheets of roving, typographical fragments.
- «Massage Collage, A Ditto, Ditto Device» Jan. 2006 (Interactive Installation)
Teeming with generative ideas concerning copyright and appropriation, mechanization of labor, fragmentation, purposelessness, bodily interface, visual repetition, technological transformation, etc., McLuhan and Fiore’s “message” is ripe for recontextualization, for digital “ex-tension,” a massaging out of tensions, a release of the intensive properties within the book.
“The world is not unexplained since it is told like a story; each one of its accidents is but a circumstance, and the preterite is precisely this operative sign whereby the narrator reduces the exploded reality to a slim and pure logos, without density, without volume, without spread, and whose sole function is to unite as rapidly as possible a cause and an end.” – – Roland Barthes, Writing Degree Zero
- visual sonnet #1 (2004)
Based on Raymond Queneau’s Cent mille milliards de poèmes [Hundred Thousand Billion Poems] published in 1961.
A collage meditation on the production and activity of the digital space of the page, or page_space. The text consists of both cited fragments and originally composed reflections on the nature of the page in electronic space.
CONCRETE POEMS and COVERS
a few “covers” of concrete poems
Using a grammar that feeds back into itself, this is more of a conceptual piece which “follows in the lineage” of La Monte Young’s famous instructional artwork Composition 1960 No. 10: “Draw a straight line and follow it.”
- Mallarmé Covers (2007-2008)
If one looks at the page-source it is indeed the language of non-breaking space which creates the actual space of the poem’s web-version.
- Space & Time 2007
- Scott Helmes Cover 2007
- Subsonnet 2004
The “words” and letters signfy only in the movement and emergent activation of the form. Code activates forms: code is the form of form.
- The Power of Speech (Poem/Performance 2007)
Nightmare of the Inner Ear (Reading / Unfinished Work)
- one text at a time (2001)
- theorizing the self (2001)