poetry

” … there is a fundamental requirement which the various kinds of concrete poetry meet: concentration upon the physical material from which the poem or text is made. Emotions and ideas are not the physical materials of poetry. … Generally speaking the material of the concrete poem is language …” (Concrete Poetry — A World View. 1968.)


ZOOLOGY by Sasha West. Visuals by Ernesto Lavandera. Born Magazine

her website

Flarf was first applied in reference to poems and other creative texts produced by the Flarflist Collective, a group of writers including Maria Damon, Jordan Davis, Katie Degentesh, Drew Gardner, Nada Gordon, Rodney Koeneke, Michael Magee, Sharon Mesmer, K. Silem Mohammad, and Gary Sullivan. The term was coined by Sullivan in late 2000, when he submitted deliberately bad poems to Poetry.com’s poetry “contest” (actually a marketing scheme) as a way of testing Poetry.com’s supposed standards for excellence. (It should be noted that the practice of Poetry.com-baiting predates flarf itself; many other individuals, including North Carolina poet Patrick Herron and syndicated humorist Dave Barry, have engaged in similar pranks.)”


contemporary poetries, visual, verbal & visual/verbal, with especial focus on small press books, magazines, and on websites of avant poetries

PennSound: Close Listening

Recordings at ArtRadio WPS1.org and Studio 111 at the University of Pennsylvania. All conversations with Charles Bernstein unless otherwise indicated.

Poetry interests me above all as a kind of resistence. In the first place because its economy is absolutely aberrant to contemporary logic: an enormous investment (in terms of time and energy), quasi-nil effect and zero profitability. So it’s an act that could only be directed by internal necessity…


(Warm, fuzzy description)



Poetry and such.



“curve to your own mortality, see how
grasses grow through an empty hoof
and watch the migrant finch, its feathers
the blue of ocean, intensified
as a lens bends
sunlight to burning”


YouTube – Def Jam Poetry – Gemineye “Poetic Bloodlines”

“You see, I need you.
I use poetry to teach people.
The world I created
Has been overrun by ignorant thinking
And I need poets to take the world back
And break the curse. “

Antic View: October 2006 : Patent Pending : Allen Bramhall :


An electronic poetics has a sexual innuendo and has a poetry-sensitive “rhyme scheme” surrounding the sexual innuendo. Areas on the “rhyme scheme” are designated for controls used to operate the electronic poetics.

CARNIVAL Steve McCaffery: 1967-75

“The roots of the typewriter are Augustan; its repetitive principle is the principle of the couplet enhanced by speed. The typewriter oracled a neoclassical futurism that emerged in the mid twentieth century as poeme concrète. This is part of that oracle.”

Search Poetry


“Pathetic.org , a community for poets and poetry enthusiasts alike.”

Scholars are men.
These are the men that must step out
From the visionary landscape.

Robertson, Lisa. (2006). The Men: A Lyric Book. Toronto: BookThug. p.41


As I was coming home tonight, at 319 Main St, Vancouver, a window was being projected on from inside and it was playing excerpts from:
the 1995 PBS series United States of Poetry
What is this place on main st? I like it but the doors were locked.


Saul Williams, The DEAD EMCEE Scrolls

Ani DeFranco

Leonard Cohen

dj Krust — coded language

The following is not a dream… You walk by a desk, or you touch upon a desk surface by accident…and the desk starts to type itself. You walk by an ordinary stand-up lamp and a voice, half-human, half-machine, chants something almost comprehensible but not quite.

Electronic Literature Collection Volume 1




Volume 1

(October 2006)

Billy Collins reads his poem “The Dead”
with animation by Juan Delcan of Spontaneous.

Piet Zwart Institute – Words Made Flesh

WORDS MADE FLESH
Code, Culture, Imagination
Florian Cramer

A b s t r a c t: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.

nathalie stephens

No text is sacred. Nothing is ever for real. The earth shifts beneath our feet. We are walking in circles looking again and again at the same thing.