You are entering a language laboratory — a hypertext poem organized according to the periodic table of elements. Click on an element symbol and you will be taken to a small room made from the language of that element. Every once in a while, fragments of Zhivago's testimony will appear at the bottom of the frame. After reading, you may choose to add the element into your "cYou are entering a language laboratory — a hypertext poem organized according to the periodic table of elements. Click on an element symbol and you will be taken to a small room made from the language of that element. Every once in a while, fragments of Zhivago's testimony will appear at the bottom of the frame. After reading, you may choose to add the element into your "chemical" language equation. Choose as many elements as you like and then choose a process which will cause the elements to react in a variety of ways, making a new poem, a new compound....
|Title||:||the periodic table as assembled by dr zhivago oculist|
|Number of Pages||:||271 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
the periodic table as assembled by dr zhivago oculist Reviews
The Blue PeriodWhen I was in graduate school learning how to write poetry our poetry readings featured well-known poets well known among well-known poets. Since undergraduates were required to attend, these readings were held in huge lecture halls adorned with giant printouts of the periodic table of elements. I’m sure hearing all of that poetry in such a generic environment with only the periodic table in my visual field had an influence on me. It’s certainly the reason why I was attracted to Jena Osman’s hypertext poem, “The Periodic Table As Assembled by Doctor Zhivago, Oculist,” which I misread for the longest time as “occultist,” and in which the reader/writer clicks to add elements from the periodic table that pop-up as poems and then (in the updated iteration of the project) chooses the procedure to facilitate the reaction: stir, dissolve, dilute, etc., which creates new poems. If only I could have been doing that in the lectures halls at Iowa. So when I saw Osman’s experiment I thought I was seeing the future, expecting that at some point all poems in electronic mediums would be digital poems, working with virtual space expressively or formally and changing the way space itself was conceived. Ten years or so later, I’m surprised. Most poems in online literary journals are often analogues of their printed bodies, mine being no exception. Even in Osman’s case the poetry and concept of her poem are credited to her while the programming and design are credited to others, which makes her imaginative and resourceful but not a programmer. Digital poetics seems to have evolved into an exploratory examination of reality and the epistemological significance of applying technology to artistic practice. A poet who doesn’t maximize technology is like a painter disregarding the second dimension. I want to be the painter who invents colors to paint—