anthology of digital and electronic poetry
digital appendix of [h]earat Shulaym 8-9
edited by sala-manca/[h]earat shulaym


Code Poetry

The data][h!][bleeding T.ex][e]ts by Mez

Julu by Alan Sondheim

A more complex piece of running code he wrote is "Julu", picked here as just one piece of his overall work. According to Alan Sondheim's own description, "it asks a lot of questions and returns complex texts I can use for writing. It has 'arrays' in it, lists of words that it will substitute in various sentences at various times. [...] When the program runs, it asks me to enter lines, gives me material in return - and I write in and out of the material it gives; it then rearranges the lines according to its own internal logic, and gives me a text at the end." The sourceode of Julu itself is an artistic and literary work, and can be read even by non-programmers. [project hosted @ runme]

Codeworks: Netzkunst an der Grenze von Sprache und Digitalcodes
by Florian Cramer

Florian Cramer (editor), literary scholar, Berlin, Germany
Tsila Hassine, media-design student, Piet Zwart Institute, Rotterdam
Alejandra Perez Nuez, media-design student, Piet Zwart Institute,
Sasson Kung, media-design student, Piet Zwart Institute, Rotterdam
Fabian Vgeli, media-art student, HGK, Zrich
Alan Sondheim, Nnetwork and codework artist, New York
noemata , pseudonymous code artist, Norway



Permutational poetry

P3rmutations by Florian Cramer

Combinatory Poetry and Prose from 330 A.D. to present
Miscellaneous Kinds of Combinatory Writing


Kinetic Poetry/ Interactive Poetry

Augusto de Campos : "Coracaocabeca" (1980), "HeartHead (1980)"

Palm Poetry by Orit Krugkansky

"Being a relatively new device, the Palm is certainly tinted by the "Coolness Effect", even more so with the tilt sensor. But for the same reason it also carries over more of its properties to the poetry. The user of computer poetry usually ignores the familiar (the physical properties of the machine and the conventions of using mouse and keyboard) and only treats what appears on screen. A user of Palm poetry is highly aware of the Palm as an object, and doesn't take for granted its possible interactions.

WhereAbouts by Orit Kruglansky (2003)

"I call what I do interactive poetry because my main focus is the interaction and how it participates in the creation of meaning in a poem.
Language is a system of conventions used to convey meaning. The more complex our system of conventions, or language, the more complex the meaning that can be conveyed using it. Interactive Art is so new it hardly has a language of its own. The knowledge I can safely assume on the part of a user is minimal: I assume they know what a personal computer is, and that they know to click, and drag;
With this language I try to write poetry. I try to use interaction and interface as a major poetic device, a device active in the construction of specific meaning in a poem. This formalistic attempt coexists with my desire as a poet to talk about the world, to convey emotions and represent human condition"

Source: Interactive Poetry / Orit Kruglansky /

Genesis 11:1 by Ariel Malka

This bit is a continuation of the micro-research about text and texture, but it also features some interesting attributes in term of text visualization

The Text Time Curvature by Ariel Malka

A text recorder. Device capabilities: tree structure and adaptive curvature.


E- Poetry/ Hyper poetry

White-Faced Bromeliads on 20 Hectares by Loss Pequeno Glassier

"Instructions: Allow this page to cycle for a while so you can take in some of the images and variant titles. When you are ready, press "begin". Once there, read each page slowly, even aloud, watching as each line periodically re-constitutes itself re-generating randomly selected lines with that line's variant. Eight-line poems have 256 possible versions; nine-line poems have 512 possible versions"

Rictus by mez

The Lost Project by Alan Sondheim

About: "Another example of this kind of thing is a project I designed for the trAce online writing group. It's the 'Lost Project'. I was the online writer-in-residence for trAce for six months, and I first did a piece where I roamed all across the trAce bulletin board - went into all the different conferences - as if I had lost something, and might find it there. (Go to to see the webboard here.) This was interesting to me - writing a piece which was scattered across a whole lot of different sites. Someone would have to go to all of them to see what I was doing.

After this, I thought more about losing things, and decided I wanted a site where people could go and describe anything or anyone they had lost. But I changed this in several ways - I made (with the aid of Simon Mills, an excellent programmer) a webpage which 'shuddered' and looked as if it were falling apart - it made it difficult to enter anything into the form. I then had it made that, after you clicked 'submit', you'd be taken to a fake error page - as if you'd make a mistake. The idea was that you would already be feeling that you had 'lost' your writing and Description as well. If you clicked on the fake error page, it would take you to a list of everything that anyone had lost - including your own submission.

On the first page, you're asked to give your name and email address as well - but when you go to the list of things lost, your name and email address aren't there - they're also lost. You have to click on a name/address page - and you'll find a list of all the participants, without their Descriptions."

Source: Writing on Line / Alan Sondheim /

Stir Fry Texts by Jim Andrews

The stir frys are related to cut ups. The sorts of examples of previous cut ups I'm aware of range from the textual and audio cut ups done by William S Burroughs to the sorts of experiments by Dali to more recent experiments by, say, the L=A=N=G=U=A=G=E poets, to more visually oriented cut ups done by some of the Web artists such as Reiner Strasser and Ted Warnell and others. Then there's the totally automatic text dicing machines by Lee Worden and a few others. I'm skipping lots of work here, obviously--such work is proliferating (and part of what I want to get at here is why it is proliferating). The common thread among these works is the way that textual or visual materials are quite literally cut up into pieces and then rearranged, partly at random and partly according to either the artist's associativity and/or the associativity the artist gives into the hands of the reader/viewer to rearrange and recombine the materials.

Interactive Works (hypertext), by Jim Rosenberg Diagrams Series 5

This work is presented here in its entirety. Diagrams Series 5 is a work in progress. As more diagrams are completed they will be added to the work. This work represents a return to the intense "diagramicity" of my earlier paper-based Diagram Poems (e.g. Diagrams Series 4 .)

To view this work you will need a Java-enabled browser. 32M of memory should be sufficient on Windows, but may not be enough on Macintosh; if you are using iCab on the Macintosh 32M is enough, but for Netscape or IE you may need 48M.

These works were originally implented in HyperCard, ported to Windows using Oracle Media Objects, and converted (by hand, alas) to the web using a software environment called Jamba , by Interleaf.


appendix b

english versions of the printed articles avaiable on the net

1. Concrete and visual poetry in digital media, by Roberto Simanovsky [ English Version ]

The Illuminated Manuscript by David Small

Poema-bomba (1983-1997) by Augusto de Campos

applepie for doehl.

Tipoeamas and Anipoemas by Ana Maria Uribe

ER/SIE (HE/SHE) by Ursula Menzer and Sabine Orth. Erbauung (Building or Edification)

A Fine View by David Knobel

Grunewald' Animation of a verse by William Blake.

Das Epos der Maschine by Urs Schreiber / (freview: 7/2000 )

YATOO by Ursula Hentschlger and Zelko Wiener (review 1/2002 )

Manny Tan' interactive spider on

Untitled by Squid Soup

Enigma n by Jim Andrews

Enigma n2 by Jim Andrews

2. Digital Code and Literary Text by Cramer, Florian / [ English Version ]

3. Biopoetry by Kac, Eduardo / [ English version ]

4. Diagram Poems by Rosenberg, Jim

Diagrams Series 4

Diagrams Series 4is a set of poems in a diagram notation realized using simple ASCII character graphics. (They should appear just fine in a text browser such as Lynx, though each diagram will take more than one screenful.) These works were published ©1984 by Jim Rosenberg as an ad-hoc circulation in which each diagram was printed on two consecutive sheets of standard blank 14 7/8 x 11 computer paper. Portions of this work were printed inTyuonyi 1, Santa Fe, NM, 1985. This work is also available on-line in the ACEN conference of The WELL. I would like to take this opportunity to thank Carl Loeffler, Fred Truck, and Anna Couey for giving my work its first on-line home in days long before WWW was a reality.


appendix c

e-journals, anthologies & pages on e-literature

Electronic Poety Center

dichtung-digital [electronicjournal]

ubu web

poems that go


Caterrina Davinio


Page is under development