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IO
1990
Three-dimensional navigational poem in which the letters/numbers I and O appear as elements of an imaginary landscape. IO is "I" in Italian. In this piece it also stands for reconciled differences (one/zero, line/circle, etc.). The reader is invited
Storms
1993
An interactive hypertext piece based on the sefirotic tree of the Kabbalah. "Storms" is organized in vocalic and consonantal bifurcations. To navigate through the poem one is invited to click on a letter at any given time. In some instances,
Accident
1994
Runtime looped animation in which language continuously emerges and disappears. As a speech fragment is repeated and letters disappear from it, new meanings emerge.
UPC
1994
...In this looped and silent inst
alla
tion-poem 7-foot tall...
Insect.Desperto
1995
Runtime animation in which the visual and sound tracks function independently and complementarily in two languages (English and Portuguese), one not being the translation of the other. “Desperto” means “awaken” in Portuguese. Originally a runtime
Secret
1996
The words in "Secret" are dispersed in the semantic darkness of a potential space. The reader is invited to navigate this space and create verbal and visual links between immaterial presences, voids, and distant signs. This VRML navigational poem
Inside the Chain
2016
-
2018
Inside the ChainArtist: Ekaterina ZharinovaComment:
Wine
1996
A delicate and silent animation. It suggests an inebriate mental state in which foreground and background blend in almost undifferentiated fashion. The poem articulates the fleeting apparitions of the words from within themselves, as if one word
Letter
1996
A navigational poem that presents the viewer with the image of a three-dimensional spiral jetting off the center of a two-dimensional spiral. Both spirals are made exclusively of text. The reader is able to grab and spin this cosmic verbal image in
Perhaps
1998
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1999
This is the first poem written specifically for Internet 2. The poem is a world with 24 avatars, each a different word. Each reader, in order to read the poem, must establish his or her own presence in this textworld through a verbal avatar. As
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