Originally published in Holographic Imaging and Materials (Proc. SPIE 2043), Tung . !eong, Edi"or (#ellingha$, %&' SPIE, ())3), pp. *2+,(. h""p'--e.ac.org- olopoe"ry. yper"e/".h"$l HOLOPOETRY, HYPERTEXT, HYPERPOETRY Eduardo 0ac I 1ill s"ar" by e/a$ining brie2ly "he course "ha" led "o "he de3elop$en" o2 holopoe"ry "en years ago. I" 1as in (),3 "ha" I crea"ed $y 2irs" holopoe$, bu" $y in"eres" 2or linear and 3isual poe"ry de3eloped early in adolescence. & "urning poin" 2or $e 1as 1inning a" se3en"een years o2 age a na"ional poe"ry con"es" in ()*), in #ra4il, 1i"h a shor" poe$ in 3erse en"i"led 56uacu"e3ida (75oub"7). The poe$ 1as published "he sa$e year in "he li"erary supple$en" o2 "he 8io de !aneiro ne1spaper Tribuna da I$prensa and in "he 2ollo1ing year in an an"hology, 9e$ Poe$as #rasileiros (7One undred #ra4ilian Poe$s7), published by Edi"ora :er"en"e, 2ro$ S6a"ildeo Paulo. The s"ruc"ure o2 "his as 1ell as o2 o"her poe$s I 1as 1ri"ing a" "he "i$e 2ollo1ed syn"ac"ic con3en"ions and used "he line as brea"h uni". I s"ar"ed "o par"icipa"e in reci"als and in public readings. In "he la"e ()*0;s #ra4il 1as slo1ly going "hrough a period o2 rede$ocra"i4a"ion, 2ollo1ing $ore "han one decade o2 $ili"ary dic"a"orship, "or"ure o2 poli"ical prisoners, and censorship. I beca$e in"eres"ed in body poli"ics, and 2ound $ysel2 reading %ilhel$ 8eich, erber" <arcuse, and 8oland #ar"hes, a$ong o"hers. a3ing diligen"ly read and s"udied "he 1or. o2 "he $os" i$por"an" $odern and con"e$porary #ra4ilian poe"s as 1ell as so$e o2 "he $os" pro$inen" $odern and con"e$porary &$erican and European poe"s, I no"iced "ha" 1or.s "ha" openly e/pressed 1ha" I percei3ed as poli"ical issues rela"ed "o "he hu$an body 1ere absen" 2ro$ #ra4ilian poe"ry. I also s"udied poe"s o2 "he pas" such as 9a"ullus, <ar"ial, &re"ino, #ocage, 8i$baud, and o"hers, 1ho had celebra"ed "he body 2ree+spiri"edly. The poe"ry I de3eloped a2"er "ha" had s"rong poli"ical o3er"ones and 1as buil" on "he 72orbidden7 3ocabulary I 2ound absen" 2ro$ "he $odern and con"e$porary 1or. I ad$ired. This s"yle 2ocused on se$an"ic con"en" 1i"hou" orna$en"a"ion or euphe$is$. I decided "ha" "his poe"ry 1ould also incorpora"e o"her ele$en"s considered in2erior or unaccep"able by cri"ics bu" 1hich 1ould be e$pa"hic 1i"h "he audience, such as cale$bours, slang, and hu$or, and "ha" i" 1ould be 1ri""en speci2ically 2or public per2or$ances, ra"her "han 2or boo. publishing. This 1or. 1as de2ini"ely addressed "o "he $an and "he 1o$an on "he s"ree". Throughou" (),0 and (),(, and par" o2 (),2, I ga3e 1ee.ly per2or$ances in public and pri3a"e spaces, in 8io de !aneiro and o"her #ra4ilian ci"ies, 1i"h o"her young poe"s 1or.ing along si$ilar lines. 5uring "his period I also crea"ed gra22i"i+poe$s, ob=ec"+ poe$s, and s"ic.er+poe$s, 1hich e/panded "he scope o2 $y per2or$ances. The idea o2 appro/i$a"ing "he le""er and "he hu$an body cul$ina"ed in poe$s in 1hich I per2or$ed so as "o crea"e "he le""ers "he$sel3es 1i"h $y o1n body. This 1hole pro=ec" 1as docu$en"ed in i"s "hree+ year span in 3aried 2or$s, including boo.s((), $aga4ines, ne1spapers, and "ele3ision and radio co3erage. bu" could no" be e$bodied in "angible ob=ec"s. I se" "he$ aside and ne3er published "he$.3. i" beca$e . early in (). &1are o2 "he $ul"iple direc"ions "he genre had "a.2 and (). So. <y in"eres" 2or 3isual poe"ry con"inued "o increase as $y dedica"ion "o oral and 3ersi2ied poe"ry decreased. "o "his ar"icle. So$e o2 "hese 1or. I concluded "ha" I 1ould ha3e "o $o3e beyond "he shor"co$ings o2 "he prin" $ediu$ and "ry "o "hin.2' I" 1as clear "o $e "ha" one o2 "he $ain 2orces behind "he rebir"h o2 3isual poe"ry in "he "1en"ie"h cen"ury 1as "he populari4a"ion o2 paper+prin" "echnology. bu" could no" unders"and ho1 a "hree+di$ensional i$age could be recorded on a "1o di$ensional sur2ace. en"i"led Escracho.&l"hough during "he 2irs" years o2 "he (). The idea see$ed 2ascina"ing. $y 1ay ou"side "his 2or$. ho1e3er.ind o2 3isual poe"ry I 1as 1ri"ing around ().en in "he "1en"ie"h cen"ury I e/peri$en"ed 1i"h di22eren" $edia. early in ().s I published in an ar"is". I crea"ed 3isual poe$s 1i"h a $echanical "ype1ri"er> I used collage "echni?ues> I collabora"ed 1i"h pro2essional graphic designers and pho"ographers> I 1ro"e poe$s 1i"h a cadence be"1een prose and 3erse> I produced ani$a"ed poe$s 2or elec"ronic $edia. I reali4ed "ha" "he poe"ry I 1an"ed "o de3elop 1ould ha3e "o =u$p o22 "he prin"ed page. ere is an e/a$ple o2 "he . I 1ould occasionally crea"e 3isual poe$s "ha" 1ere no" a" all rela"ed "o "he progra$$a"ic in"er3en"ion I 1as carrying ou". In o"her 1ords. #ecause "hey did no" 2i" in"o $y $ain ac"i3i"y. #e"1een (). I 1en" bac.0s $y a""en"ion 1as cen"ered on "he 1or. "hree+di$ensional ob=ec"+poe$s. &l1ays 1i"h an a$a"eurish in"eres" in Op"ics.s boo. such as elec"ronic signboards and 3ideo"e/" ne"1or. I had read an encyclopedia ar"icle on holography published in "he early ()*0s.3 I 1as 3ery unsa"is2ied by 1ha" I "hen considered "he blind alley o2 3isual poe"ry.3. I 1as no longer in"eres"ed in crea"ing physical. %hen I sa1 a hologra$ 2or "he 2irs" "i$e. since "his 2or$ also belonged "o "he "radi"ion o2 3isual poe"ry. ho1e3er. described abo3e.s. s (3) 1ords li"erally.clear "ha" "his $ediu$ had "he po"en"ial solu"ion 2or "he aes"he"ic proble$s I 1as s"ruggling "o resol3e.s. "he "e/"s 1ill "rans2or$ "he$sel3es. as so$e"hing "ha" in 2ac" "a. This ul"i$a"ely $eans "ha" each reader 71ri"es7 his or her o1n "e/"s as he or she loo. I2 "he reader has ne3er seen an ac"ual holopoe$. <os" o2 $y pieces deal 1i"h "i$e as non+ .e. and "o learn "hrough $y e/peri$en"a"ion in "he labora"ory abou" "he li$i"s and prospec"s o2 holographic 1ri"ing. <y hologra$s de2ine a linguis"ic e/perience "ha" "a.. To ?ues"ion "he s"ruc"ure o2 language is "o in3es"iga"e ho1 reali"ies are cons"ruc"ed. I use holography and co$pu"er holography "o blur "he 2ron"ier be"1een 1ords and i$ages and "o crea"e an ani$a"ed syn"a/ "ha" s"re"ches 1ords beyond "heir $eaning in ordinary discourse. In "he ne/" "1o sec"ions I 1ill proceed "o ou"line holopoe"ry. change in color and $eaning. $o3e in "hree+di$ensional space. 1hich under$ines 2i/ed s"a"es (i.s general principles and "o discuss recen" pieces no" docu$en"ed be2ore. I "ry "o crea"e "e/"s 1hich can only signi2y upon "he ac"i3e percep"ual and cogni"i3e engage$en" on "he par" o2 "he reader or 3ie1er. The "e$poral and rhy"h$ic organi4a"ion o2 $y "e/"s play an i$por"an" role in crea"ing "his "ension be"1een 3isual language and 3erbal i$ages. or holopoe$s. <y holography is bo"h an in3es"iga"ion o2 "he processes o2 language and o2 holographic $eaning. & de2ini"ion o2 holopoe"ry I ha3e discussed else1here (2) "he de3elop$en" o2 holopoe"ry 2ro$ i"s incep"ion "o i"s curren" s"age. I crea"e 1ha" I call holographic poe$s. coalesce and disappear. in holography can be unders"ood in "he con"e/" o2 language ar" and 3isual poe"ry. This has enabled $e "o be in con"rol o2 "he e/ecu"ion o2 all s"ages o2 $y 1or. "1o genres "ha" e/plore "he 2usion o2 1ord and i$age.s a" "he piece. In "he 2ollo1ing years I beca$e a holographer and subse?uen"ly a co$pu"er ani$a"or. I "hen se" ou" "o de3elop a "e/"uali"y "o be $odula"ed by "he elusi3e na"ure o2 holographic space 1hich 1ould be e/perienced 1i"h i"s o1n rhy"h$s." res" ?uie"ly on "he sur2ace.es place ou"side syn"a/ and concep"uali4e ins"abili"y as a . I e$ploy co$pu"er ani$a"ion "echni?ues "o crea"e a ne1 . <y 1or. 1hich are essen"ially hologra$s and co$pu"er hologra$s "ha" address language bo"h as $a"erial and sub=ec" $a""er. The ne1 poe"ry I 1as going "o de3elop 1ould 2ocus $ore on syn"ac"ical issues ra"her "han on se$an"ics. he or she needs only "o consider Elio".ind o2 poe"ic co$posi"ion. "ha" is.es place as a 3isual+poe"ic pheno$enon' @anguage plays a 2unda$en"al role in "he cons"i"u"ion o2 our e/perien"ial 1orld. 1ords charged 3isually or i$ages enriched 3erbally) and 1hich could be de2ined as a cons"an" oscilla"ion be"1een "he$. %hen "he 3ie1er s"ar"s "o loo.ey signi2ying agen". so$e1here be"1een "he "1o+di$ensional sur2ace o2 "he page and "he solid "hree+di$ensional 2or$ o2 "he ob=ec". <y holopoe$s don. This 3ie1er+ac"i3a"ed choreography is as $uch a par" o2 "he signi2ying process as "he "rans2or$ing 3erbal and 3isual ele$en"s "he$sel3es. 2or 1ords and "heir lin. . and $ore speci2ically.no1n 1ords. and our percep"ion o2 "he organi4ing 2ac"ors o2 "he "e/". 5ei$os (7"error7) is "he ou"er. beyond "he lineari"y and rigidi"y "ha" charac"eri4e i"s prin"ed 2or$. 2lo1ing in bo"h direc"ions). The "e/" "hey e/perience s"ands agains" "he 2i/i"y o2 prin". and 2or"h. 1hich are seen "hrough a circle o2 predo$inan"ly yello1 ligh". &s readers $o3e "hey con"inually shi2" "he 2ocus or cen"er or organi4ing principle o2 "heir e/perience by loo. The 3ie1er has "o read "he "rans2or$a"ions 1i"hou" "rying "o e/"rac" se$an"ic $eaning 2ro$ "he nonse$an"ic 2or$s. This can be . The piece is co$prised o2 "1o 1ords rendered in 1ire2ra$e (EE8IE and <IST).linear (i. These in+be"1een 3erbal signs a""e$p" "o co$$unica"e a" "he le3el o2 abs"rac" 3isual signs 1hich ha3e no e/"ra+pic"orial reali"y. s$aller sa"elli"e o2 <ars. discon"inuous) and re3ersible (i. The shi2"ing o2 gra$$a"ical 2or$s occurs no" "hrough syn"ac"ical disloca"ions in a s"an4a. e3o. Since "he percep"ion o2 "he "e/"s changes 1i"h 3ie1poin". The circle $ay represen" 5ei$os as seen on "he s. I2 "he 3ie1er happens "o $o3e in "he opposi"e direc"ion. or a cra"er on "he sur2ace. The co$bined use o2 co$pu"ers and holography re2lec"s $y desire "o crea"e e/peri$en"al "e/"s "ha" $o3e language. I s"ri3e "o1ard concei3ing o2 ne1 rela"ionships be"1een "he appearance+disappearance o2 signi2iers.s "ha" e$erge 2ro$ a genuine holographic syn"a/. pro3ided by "he 1ords a" "he poles (EE8IE and <IST). 8ecen" holopoe$s Astray in Deimos (4). &s "he 3ie1er $o3es rela"i3e "o "he piece. bac.ing "hrough dispersed 3ie1ing 4ones. in such a 1ay "ha" "he 3ie1er-reader can $o3e up or do1n. In "he process o2 "rans2or$a"ion "he in"er$ediary con2igura"ions o2 "he le""ers. and 2or "he branching o2 holographic space. %ha" 1as read as an ad=ec"i3e is beco$ing a noun.e landscape $ade o2 sha""ered glass.y 2ro$ "he ground. 1hich par"ially in3ades "he yello1 ligh" circle.es place ou"side syn"a/. he or she percei3es "ha" each line "ha" renders "he graphic con2igura"ion o2 each le""er s"ar"s "o ac"ually $o3e in "hree+di$ensional space. The 3ie1er "hen percei3es "ha" as "he lines and poin"s go under an ac"ual "opological "rans2or$a"ion.e. "hey do no" posses a single 7s"ruc"ure7 "ha" can be "ransposed or "ranspor"ed "o and 2ro$ ano"her $ediu$. Surrounding "his scene is a 1eb+li. 3isual percep"ion o2 para$e"ric beha3ior o2 "he 3erbal ele$en"s heigh"ens a1areness o2 $eanings. I call "his se$an"ic in"erpola"ion. "he noun is "rans2or$ed in"o "he ad=ec"i3e. I "ry "o in3es"iga"e "he possibili"y o2 crea"ing 1or. a" any speed.e.. "hey slo1ly s"ar" "o recon2igure a di22eren" 1ire2ra$e le""er. 2ro$ ())2. do1n a" "he spacescape. 1hich do no" 2or$ any . $y poe$s resis" 3ocali4a"ion and paper+prin" reproduc"ion. and s"ill be able "o es"ablish associa"ions be"1een 1ords presen" in "he ephe$eral percep"ual 2ield. a" "he sa$e "i$e "ha" "hey opera"e under a speci2ic 2ra$e1or. #ecause o2 "heir irreducibili"y as holographic "e/"s. In "his sense. or e3en a spacecra2" 1indo1 "hrough 1hich one $ay loo.e in nonse$an"ic 2ashion $eanings "ha" are concei3ably in"er$ediary be"1een "he "1o 1ords (EE8IE and <IST). 1hich cons"i"u"es "he e/perience o2 reading a holographic "e/". The poin" here is "ha" "his $e"a$orphosis allo1s "he "e/" "o sugges" o"her $eanings beyond "he "1o 1ords loca"ed a" "he e/"re$e poles o2 "he process. 1ri""en language. bu" "hrough a "ypographic $e"a$orphosis "ha" "a. 2ro$ le2" "o righ". e/plores $e"a$orphosis as i"s $ain syn"ac"ical agen". I ne3er adap" e/is"ing "e/"s "o holography. OA. &I8PO8TS. IS. crea"ed in ())2. &s "he 3ie1er $o3es rela"i3e "o "hese "1o panels. bu" iden"ical "o "he color o2 "he 2ollo1ing ro1. &n abs"rac" shape $orphs in"o "he 1ord (% EC) 1hich $orphs again in"o an abs"rac" shape. #DT. IAS. The a""en"i3e reader 1ill no"ice "ha" i2 "he 1ord <IST is percei3ed 2irs". &s in $os" 1hi"e+ligh" "rans$ission hologra$s "hese colors are ne3er s"a"ionary. S<I@ES. IA. The 3ie1er can s"ar" reading 2ro$ le2" "o righ" or 3ice+3ersa. SO.3ery di22icul" a" 2irs" because i" escapes our co$$on e/pec"a"ions abou" ho1 language opera"es. a phone"ic lin. Aor e/a$ple' i2 I re2er "o "he colors 7blac. T ECS. "hey re"urn "o "heir "e$porary s"a"e o2 res". The cen"er panel has a di22eren" beha3ior. This color $odula"ion e/"ends "he rhy"h$ crea"ed by "he 2on" selec"ion and helps in"er1ea3e "he 1ords 3isually. !&FF. Only in poe"ry "his is concei3able. SP@&S . <OOCS. i2 "he 3ie1er $o3es in "he opposi"e direc"ion. or e3en s"ar" in "he cen"er and $o3e in "he desired direc"ion. There is no co$$on 1ord "ha" can de2ine an in"er$ediary s"a"e or concep" be"1een "he "1o nouns. be"1een "he "1o 1ords sugges"s a "hird one' $ys"ery. 58G). T ODE TS. &I8S. &8E. 1hich are usually seen one a" a "i$e. E8&SE. crea"ing an al"erna"ing 3isual rhy"h$. The 3erbal $a"erial in "he le2" and righ" panels is organi4ed 3er"ically in "hree+di$ensional space. <E<O8IES. This precision beco$es i$possible. &8E. I"s na"ural sub=ec" is "he landscape o2 5ei$os. I used "1o di22eren" "ype 2aces in "his piece. TOD9 . is co$posed o2 3) 1ords dis"ribu"ed in "hree panels. E. IS. @I0E. %ha" I as. de2or$ and con"or" "he$sel3es.ni2e7 and 7ligh"7. PECS. I can "hin. as i2 dro1ned by a 3iolen" 3or"e/. This holopoe$ is i$aginarily 1ri""en by so$eone 1ho has 3isi"ed 5ei$os. i2 I re2er "o "he 1ords 7. readers "o do 1hen loo. &8E.7 and 71hi"e7. one o2 "he "1o $oons o2 "he red plane". Ha oc (B). S&G. A&9ES. DC5E8. !D<PS.ing orbi"ers. 2ollo1ed by EE8IE. #DT. one 1ord is 1ri""en 1i"h seri2 and "he o"her 1i"hou". They s"re"ch. &s "he 1ords collapse "hey blend in"o one ano"her beco$ing absolu"ely illegible. <IST. 58OPS.ing a" Astray in Deimos is "o read "he $e"a$orphosis be"1een EE8IE and <IST 1i"h "he sa$e e$phasis "hey read "hese "1o indi3idual 1ords. 2or e/a$ple. and so on. They 2or$ s1irling pa""erns a" "he edge o2 "he 3ie1ing 4one and. and "he righ" panel has 2our"een $ore 1ords (S E. o2 a "hird "er$ "ha" 1ill clearly de2ine an in"er$ediary color. The le2" panel has 2our"een 1ords (CO%. "ha" is. %hen a ro1 has "1o 1ords.no1n "o us "hrough pho"ographs sho" by "he <ariner and :i. bu" 1i"hou" necessarily 2orcing "he in"er$ediary shapes "o re2er "o e/"ra+linguis"ic ?uali"ies or "hings in "he 1ay "he "1o 1ords do. placing "he 1ord a" "he "ransi"ory posi"ion preser3ed . "he cen"er panel has one 1ord (% EC). The 1ords lose "heir graphic s"i22ness.u o2 sor"s. IA. Astray in Deimos can be in"erpre"ed as a spa"ial hai. &C5. The color o2 "he 1ord(s) in one ro1 is di22eren" 2ro$ "he color o2 "he 1ord(s) in "he o"her ro1. bu" "he rela"i3e chro$a"ici"y is preser3ed regardless o2 "he 3ie1poin" o2 "he obser3er. <&FE). IS. 7gray7. 1hich so 2ar is only . all "he 1ords in "he$ "1irl si$ul"aneously. 2or e/a$ple. I" e$ploys par"icle ani$a"ion (*) and syn"he"ic 1a"er ripples. 1hich $eans 7a gen"le bree4e7. & "hree+di$ensional cloud o2 par"icles is 2or$ed in space. Ti$e+s$ear occurs 1hen "he 3ie1er percei3es si$ul"aneously "1o discre"e poin"s in "he "ra=ec"ory o2 a le""er or 1ord separa"ed in "i$e. and "ha" "hese par"icles 2ly "o1ards "he 3ie1er I as i2 "hey had been blo1n in "he air. 1i"h space be"1een "he$ e?ui3alen" "o "1o o"her le""ers (I and A. &s "he 3ie1er $o3es rela"i3e "o "he piece. Par"icles and ripples are dis"urbed by an in3isible air 2lo1 1hich is i$aginarily caused by "he reader as he or she $o3es in 2ron" o2 "he piece. since "he 1ord is percei3ed as 1ord or abs"rac" pa""ern depending on "he $o$en"ary posi"ion o2 "he 3ie1er in rela"ion "o "he holopoe$. one being a22ir$a"i3e (@IAE) and "he o"her see$ing "o ?ues"ion i"s asser"i3e charac"er 2ro$ 1i"hin (IA). i" oscilla"es be"1een preser3ing "hese opposi"ions and sol3ing "he$ by blending "he opposi"e "er$s. The abs"rac" shapes and "he 1ord are deco$posed a" "he boundary o2 legibili"y. I dis"urbed "he syn"he"ic li?uid sur2ace 1here "he 1ord is pro=ec"ed in order "o record 3isual oscilla"ions o2 "he 1ord. @oo. . I2 "he 3ie1er $o3es in "he opposi"e direc"ion. 1hich is "o say "ha" bo"h are suspended in "i$e nonse?uen"ially. The "i"le o2 $y ne/" holopoe$ is !ephyr (H) (())3). $a. 3erbal and 3isual ele$en"s $o3e and change. #u" ins"ead o2 "he s$oo"h $e"a$orphic "ransi"ion crea"ed in Astray in Deimos. The second $as"er con"ains "he 1ord IA. & "hird $as"er 1as added. "he 1ord % EC goes "hrough a co$pressed and 3iolen" process "ha" genera"es "i$e+s$ear. 1hich are absen" o2 "his hologra$). bu" "hey also dissol3e in"o one ano"her. as i2 "he par"icles and "he ripples 1ere relying 2or "heir $o3e$en" on "he 3agaries o2 air curren"s and "he displace$en" o2 s$all air $asses caused by "he $o3e$en" o2 "he 3ie1er hi$sel2 or hersel2. Surrounding "his shi2"ing scene are se$i+cur3ed ligh" 2or$s "ha" change and 2luc"ua"e. 2or$ed by "he "1o le""ers e/"rac"ed 2ro$ "he 1ord @IAE. This 1ord is pro=ec"ed on syn"he"ic 1a"er. as i2 "he 3ie1er had blo1n "he$ a1ay 2ro$ hi$ or her 1i"h his or her o1n ga4e. The 2irs" $as"er con"ains "1o le""ers.in o"her pieces 2or "he nonse$an"ic in+be"1een shapes.. In "his piece a rela"ionship o2 se$an"ic e?ui3alence is crea"ed be"1een 1ord 2rag$en"s and i$ages seen in "ransi"ion. The 1ord IA is posi"ioned in "he percep"ual 2ield so as "o $a"ch "he space le2" in "he 2irs" $as"er. #o"h are in"egra"ed in"o one en"i"y. I used "hree $as"ers in "his piece. he or she percei3es "ha" "he le""ers are $ade o2 $inu"e par"icles. &s "he 3ie1er $o3es rela"i3e "o "he piece. @ and E. This uncon3en"ional concep" "ransla"es i"sel2 3isually in"o e3er un2olding a$alga$s o2 i$ages 1hich are percei3ed as oscilla"ions by a non+s"a"ionary 3ie1er. One poin" can be "he 7presen"7 or "he 72u"ure7 in rela"ion "o "he o"her and "he con3erse.ing a" !ephyr. "he reader 2inds buoyan" 1ords.e di22used se$i+circles 2ace ou"1ards. The con3e/ sides o2 "hese 1a3e+li.ing a s"a"e$en" abou" "he 2ragili"y o2 "he hu$an condi"ion. The $eaning o2 doub" raised by "he 1ord IA is rein2orced by i"s 1a3y $o"ion. "his cloud 2lies a1ay 2ro$ "he 3ie1er and recons"ruc"s "he le""ers. &s "he reader e/plores "he 1or. con"aining s"yli4ed i$ages o2 2la$es 2or$ing a ring around "he ripples. as i2 placing no1 and "hen "he 1ord % EC in paren"hesis. The le""ers in "his piece 2or$ a 1ord inside ano"her 1ord. Kui"e o2"en in li"erary and poe"ic hyper"e/"s. The in"erac"i3i"y "ha" hyper"e/" purpor"s a22ec"s in a 2unda$en"al 1ay "he 3ery no"ion o2 "e/". The piece in3ol3ed "he recording o2 "hree separa"e $as"er hologra$s 1hich 1ere la"er o3erlapped 2or "he recording o2 "he 2inal "rans2er on a single shee" o2 2il$.e1ed as "he process described abo3e "a. This linear se?uence is no" "ransposed "o hyper"e/". in"o a $ore open+ended e/perience "han 1e are accus"o$ed "o.(. &8E.ing do1n and recons"ruc"ing o"her 1ords in "he i$$a"erial holographic space. across "he space and in =er. The "er$ hyper"e/" 1as crea"ed by Theodor Celson in "he ()H0s "o describe a . May"e then. This e/perience is pushed 2ur"her 1hen readers are allo1ed "o con"ribu"e "o "he "e/"s.es personal choices in "he process o2 reading a boo.es place. &8E.e personal choices in "er$s o2 1hen and 1here "o see 1ha". These "1o 1ords are par"ially co3ered by "he 7sno1 2la. "rans2or$ing "he li"erary 1or. read on a co$pu"er screen. The prin"ed boo. in di22eren" posi"ions. These 1ords can only be seen 2ro$ discre"e poin"s o2 3ie1 and 1ere sub=ec"ed "o o"her ani$a"ed processes.y 2ashion. 1as a brea. The 2irs" 2our le""ers in "he 1ord ICST&CTS slo1ly disappear lea3ing &CTS "o be percei3ed a" "he edge o2 legibili"y. % GJ. The & in &8E spins a1ay 2ro$ "he 3ie1er in"o holographic space and "he o"her le""ers $o3e up "o sugges" %E8E. "ha" is 2unda$en"ally di22eren" 2ro$ prin" in i"s nonhierarchical s"ruc"ure. 1i"h 2e1 e/cep"ions. T E8E. The 1ords &8E and %EJ are undernea"h % E8E and are s.ing no"es direc"ly on . is concei3ed by "he au"hor so "ha" "he reader s"ar"s on "he 2irs" page and na"urally ends on "he las" page.s abou" hyper"e/". 1here "he 3erbal $a"erial is organi4ed in discre"e uni"s lin.ground o2 ligh" genera"ed pa""erns "ha" sub"ly e3o. The "hird $as"er 1as used "o record dry branches co$ing ou" o2 "he 2il$ plane and reaching ou" "o "he 3ie1er. because i" is in"erac"i3e. because "he $obili"y a22orded by "his ne1 2or$ is rele3an" "o "he rapproche$en" I 1ill sugges" la"er be"1een holopoe"ry and hyperpoe"ry. yper"e/". i# only as (())3). or co$posi"ion by ne"1or. &u"hors concei3e o2 "heir 1or. a$ong o"her reasons 2or i"s $echanical reproducibili"y. hyper"e/" is a brea.e changes "o "he 3ery "e/" he or she is reading.) The 2irs" $as"er con"ained "hree 1ords' % E8E. %EJ."hrough in rela"ion "o papyrus scrolls and older 2or$s o2 recording "he 1ri""en 1ord.ed 2ields I 1ill in"roduce a" "his poin" so$e re$ar. The 1ord % GJ is seen 2lashing a" di22eren" $o$en"s. bu". as a sor" o2 a graphic echo. %hile one is used "o $a.es7. The le""ers in "he 1ord % E8E spin and 3isually dissol3e in"o 2alling 7sno1 2la. These rela"ionships are sugges"ed 1hen "he 3ie1er percei3es "he 1ords brea. &rguably. Si$ilarly. &C5. "he reader can no" only $a. calls 2or nonlinear 2or$s o2 "e/" cons"ruc"ion.s so "ha" "he reader has $any choices along "he reading pa"h.ed elec"ronically. one al1ays $a. The branches 1ere recorded agains" a bac. The 1ords are percei3ed only 2or a brie2 $o$en" and are in"errup"ed by "he presence o2 o"her ani$a"ed 1ords. and rando$ access "o in2or$a"ion. and allo1s "he reader "o na3iga"e "hrough $ul"iple pa"h1ays. %E. pa""erned lineari"y. "he boo. The second $as"er con"ains "he 2ollo1ing 1ords' E8E. ICST&CTS.ind o2 elec"ronic "e/".es7 o2 % E8E."hrough in rela"ion "o "he prin"ed boo. is a sub=ec"i3e s"a"e$en" abou" 1ha" I see as "he rela"ionship be"1een "he elusi3eness o2 language and "he unpredic"able and "urbulen" beha3ior o2 na"ure. IC0. bu" can also $a.<y $os" recen" piece.e "he 2or$s o2 clouds. This abili"y is a" "he 3ery core o2 hyper"e/". "he s"ruc"ure o2 "he 1or.ed "e/"s 1hich. and 1here 7a series o2 "ensions are $ade "o hold7.ed in a co$ple/ ne"1or. bu" 1ould be able "o access any o"her rele3an" essay or boo.. and "he role o2 "he reader. sound. "he au"hor gains access "o a 1hole ne1 se" o2 ins"ru$en"s 1i"h 1hich "o enhance or e/pand "he range o2 "he 1or. "o a 3arie"y o2 analy"ical essays and scholarly re2erences o2 na$es.3e been de3eloping since (). and 2or "he gi3ing up par"ial "e/"ual con"rol on "he par" o2 "he au"hor.s o2 3erbal $a"erial encoun"ered by "he reader along "he $ul"iple reading pa"hs. bu" "o sho1 a shor" elec"ronic $o3ie abou" "he si"e.. Second. o2 nonse?uen"ial audio3isual in2or$a"ion. 2or e/a$ple. 2ro$ any passage in "he "e/".. and "e/"s "o e3ery household. 2or "he readerly in"erac"i3i"y. S"or$s. and "he reader has "o $a. "he sa$e in"eres" 2or "he $odel o2 "he ne"1or. Ins"ead o2 Olson.ed 2ields 1here "ensions spill ou" and o3er2lo1.es $e "ha" in $any 1ays "he discon"inuous and $e"a$orphic poe"ry I. and no" as analog physical $ar.e in order "o $o3e "hrough i"s in"erconnec"ions. change le""ers or 1ords. The 3erbal $a"erial in "his case has "o be organi4ed as a $ul"inodal ne"1or. The nonlineari"y o2 hyper"e/" can be s"a"ed in "1o 1ays. Aor educa"ional purposes i" $igh" be in"eres"ing "o crea"e an elec"ronic docu$en" "ha" lin. I as. in "he$sel3es.s on "he sur2ace o2 a prin"ed page.. "he design o2 1hich 1ill 3ary 2ro$ au"hor "o au"hor and 2ro$ piece "o piece.s nonlinearly an i$por"an" li"erary 1or. 71here all "he syllables and all "he lines $us" be $anaged in "heir rela"ions "o each o"her7.. are "radi"ional linear "e/"s. Aro$ "he perspec"i3e o2 e/peri$en"al 1ri"ing.ing closely a" "he cul"ural di$ensions o2 hyper"e/". o2 co$posi"ion by ne"1or. The 3ery organi4a"ion o2 "he "e/" as ne"1or.3 1i"h holography shares 1i"h hyper"e/". 1e no1 "hin. i" beco$es possible no" only "o in2or$ "he reader abou" a geographical re2erence in a no3el. hyper$edia $igh" e/pand "he real$ o2 li"era"ure as i" pro$ises in"erac"i3e access "o 3ery large a$oun"s o2 da"a lin. #ecause "he "e/" is represen"ed digi"ally in "he $e$ory o2 "he co$pu"er or on a 2loppy dis. $ysel2. a hyperpoe$ @oo. and "ha" 3ideo"ape ren"al $ul"iplies "he op"ions o2 "he audience. is as i$por"an" as "he indi3idual bloc. i" s"ri.a boo. I" is "rue "ha" "ele3ision already deli3ers elec"ronic i$ages.s 1i"h sound and $o"ion pic"ures. "hus $ul"iplying e3en $ore "he nodes (or "he resources in each node) in a ne"1or. and 1i"h "he hyperpoe"ry crea"ed by $ysel2 and by o"hers. 1ri""en abou" "he li"erary 1or.s co$posi"ion by 2ield()). his"orical e3en"s and places $en"ioned in "he "e/". I2 in addi"ion "o elec"ronic "e/" an au"hor 1or. ho1e3er' i2 holopoe"ry pro$o"es a disengage$en" o2 "he lineari"y "ypical o2 "radi"ional poe"ry and o2 "he graphic si$ul"anei"y o2 3isual poe"ry. #u" hyper$edia raises ne1 se"s o2 li"erary proble$s abou" "he au"hori"y o2 "he au"hor. o2 lin. in "radi"ional 2ashion. 1ha" is less co$$on is "he abili"y "o dele"e par"s. o2"en au"hors 1ill allo1 readers "o $odi2y "he "e/" and "here2ore al"er i" in a 3arie"y o2 1ays. Airs". or add so$e"hing ne1 "o "he 3ery "e/" one reads. Aro$ an ins"ruc"ional perspec"i3e. one can crea"e a ne"1or. %ha" is e?ually i$por"an".e cons"an" decisions abou" 1ha" direc"ions "o "a. e/peri$en"al 1ri"ers can bene2i" 2ro$ hyper"e/" by radicali4ing i"s 2ea"ures and genera"ing elec"ronic poe$s or no3els "ha" canno" be e/perienced as such in prin" $ediu$. The public 1ould read "he 1or. can . "he au"hor e/"ends hyper"e/" "o "he real$ o2 hyper$edia... s I obser3ed in a par"icular se2iro"ic sys"e$. on a le""er a" any gi3en "i$e. and "his in2luence has resul"ed in holopoe$s such as A"racada"ra (().or should i" be considered a . 0abbalis"ic 1ri"ing and $ys"icis$ ha3e al1ays had a 2or$al in2luence in $y 1or. 1hich can be read on any <acin"osh co$pu"er. by borro1ing so$e lin. %hen "he reader does $a.ey. 35 graphic 2rag$en".)). &2"er I 2inished "he 2irs" dra2" o2 "his hyperpoe$. 1hich lin. In ())3 I 2inished $torms.4-. I no"iced "ha" i"s s"ruc"ure 1as 3ery si$ilar "o "he diagra$s o2 se2iro"ic sys"e$s "ypical o2 "he 0abbalah (see diagra$ belo1). i2 he or she does no" clic. The di22erence here is "ha" "his "i$e "here is a re$ar.ind o2 hyper"e/"J olopoe"ry. na3iga"ion can also "a. "he 1ord on "he screen is dissol3ed and blends in"o "he ne/" 1ord. or in so$e ins"ances also on e$p"y space.able si$ilari"y be"1een "he ac"ual s"ruc"ure o2 $y hyperpoe$.B). on a 3o1el or consonan". "he reader 1ill re$ain s"a"ionary. ?ues"ions "he $o"ionless s"ruc"ure o2 prin"+based 3isual poe"ry. .*-. =us" as i" also ?ues"ions "he au"horship and readership crea"ed by i".. and M%ltiple((). In so$e ins"ances. "ha" is.e a choice. I2 "he reader does no" $a.e place by clic. To na3iga"e "hrough "he poe$ one is in3i"ed "o clic.s one le""er. The poe$ does no" ha3e an ending.). This $ade $e reali4e "ha" I could push i" 2ur"her. This $eans "ha" one can con"inue "o e/plore di22eren" "e/"ual na3iga"ion possibili"ies or ?ui" a" any"i$e by pressing "he 9o$$and .e any choice.ing ou"side "he 1ord. $hema ((). Lilith ((). $y 2irs" hyperpoe$. 1hich pro$o"es "he branching 2ro$ one "e/"ual uni" "o ano"her. I" is organi4ed in 3ocalic and consonan"al bi2urca"ions. 1i"h 8ichard 0os"elane"4).ey and "he K . and "he s"ruc"ure o2 "his $e"aphysical Tree.)). or beha3ior o2 a "e/" "o $yriad o"hers. s par"icular sys"e$. &s 1ro"e @ouis Fu.Se2iro"ic Tree 2ro$ "he eigh"een"h cen"ury (le2") and lin. 1i"h "e/" alone. The 1ri"er no1 de2ines "he 1or.e selec"ions in a 1ay "ha" is si$ilar. The reader has "o $a. The reader is no1 presen"ed no" 1i"h one narro1ed+do1n selec"ion o2 1ords in s"rings or in graphic layou"s. as in ordinary discourse.e "he presence or absence o2 accen" in ano"her 1ord. =us" "o $a. sys"e$ o2 $torms (righ") In poe"ry. albei" no" iden"ical. bu" 1i"h an elec"ronic 2ield "ha" is a co$ple/ ne"1or. 1i"h no 2inal 2or$. In $torms. 1ords are no" used.o2s. :erbal $essages are 1or. The node I and no" "he syllable I 2ro$ 1hich lin. "o "he 1ay "he 1ri"er has.y((0). 1ha" see$s "o be a" s"a.s irradia"e is "he ne1 uni" o2 $easure$en".e a poin". bu" "o cra2" a 3erbal co$posi"ion. graphic 2or$) can resona"e 1i"hin "he poe". In each node "he poe" 1ill deploy "e/" or add sound and $o3ing i$ages "o i". so "ha" "heir ?uali"ies (aural proper"ies.s o2 ar" because poe"s o2 all eras and na"ions ha3e al1ays care2ully selec"ed and arranged 1ords in a par"icular 1ay. I decided "o 1or. In linear poe"ry "he presence or absence o2 accen" in a 1ord is li.e no1 is a disengage$en" o2 "he "e/"ual dis"ribu"ion charac"eris"ic o2 prin". as crisscrossing a/es o2 co$bina"ion. Syllables beco$e uni"s o2 $easure$en". . conno"a"i3e or deno"a"i3e $eanings. %hile "his is s"ill "rue in hyperpoe"ry. 7condensed speech is $os" o2 "he $e"hod o2 poe"ry (as dis"inguished 2ro$ "he essen"ially discursi3e ar" o2 prose)7. e"c. %ords are a/es 1hich radia"e lin. graphic. The dyna$ic use o2 language "ha" 1e are used "o on "ele3ision pro$o"es $os" o2"en redundancy. displace$en".9onclusion olopoe"ry e/plores $o"ion.es 3ery personal choices in "er$s o2 "he direc"ion. In $y holo"e/"s I e$ploy a syn"a/ o2 disloca"ions "ha" con"inually dri3e graphe$es 2ro$ "heir posi"ion. Co 1ord is "he origin or beginning.ing in"o accoun" "ha" "hese decisions.).e in prin". ul"i$a"ely. being personal as "hey are. "he au"hor o2 . Aor e/a$ple. holography is such a $ediu$. In holographic "e/"s "he reader can. and $e"a$orphosis. 7sha3ing7 "he "e/" in "he process. 3ideo"apes. a s"andard o2 ?uali"y or o2 au"hen"ic con"ribu"ion "o "he reper"oire o2 e/peri$en"al 1ri"ing. a sign or an abs"rac" pa""ern 1i"h no e/"ra+linguis"ic or e/"ra+pic"orial reali"y. The 1ri"er "ha" 1or. and angle he or she 2inds sui"able "o "he readerly e/perience. 2ro$ "op "o bo""o$. 3ir"ual reali"y.e. 1hich are scanned by "he eye in linear 2ashion. co$$odi2ica"ion.. 3ideophones. $os" i$por"an"ly. linear) and ne3er assu$es a 2i/ed beginning or end. & gol2er hi"s a ball and le""ers announcing a "ourna$en" are sca""ered on "he screen. bu" in $y $ul"i1ord poe$s each 1ord is a node or poin" o2 in"ersec"ion. or disin"egra"ed in a ne1 signi2ying process. order. li. a 3ie1 o2 "he 1ord and "he 1orld as $alleable. This "e/"ual dri2" sugges"s. a $ediu$ "ha" is 2resh and "he con3en"ions o2 1hich are ye" "o be in3en"ed. 3ideodiscs. The 1ri"er $us" crea"e "he "e/" "a. $orphed. In elec"ronic hyper"e/". in Eer$any. cura"ed by &ndrL :allias. @ogos 2ly onscreen "o sell "he 3isual iden"i"y o2 large corpora"ions. i" is i$por"an" "o 1ri"e 3isual poe"ry in a $ediu$ di22eren" "han prin". To $e.ed 1ords "ha" surround "he$ I bu" ?ui"e o2"en a 1ord loses graphical in"egri"y and beco$es "e$porarily so$e"hing else. i2 so$eone uses holography si$ply "o reproduce a poe$ "ha" 1as 2ully reali4ed in ano"her 2or$ (3erse. &n elec"ric sha3er 2ollo1s a pa"h $ade o2 "e/" abou" "he produc". I2 one is concerned 1i"h "he de3elop$en" o2 a ne1 poe"ry 2or "he digi"al age. In %es"ern socie"ies 1e are all used "o elec"ronic "e/"s on "ele3ision per2or$ing "he $os" elabora"e piroue""es on "he screen. & rare e/a$ple o2 i$por"an" in"erna"ional digi"al poe"ry 1as sho1n in "he e/hibi"ion 7p0es(e digi"ale dich". he or she is no" crea"ing 1ha" I 1ould call a holopoe$. bu" in addi"ion "o choosing pa"hs "he readers encoun"er a space 1here "he graphical subs"ance o2 "he 3erbal $a"erial is under cons"an" dis"urbance. and banali4a"ion. They brea"he "ele3ision. 2ro$ le2" "o righ". by i"sel2.uns"7(((). dis"ance.ind o2 se?uence. In a li"erary cul"ure s"ill do$ina"ed by prin". bu" I $us" poin" ou" "ha" "he use o2 ne1 $edia does no" cons"i"u"e. The ne1 genera"ion o2 poe"s belongs "o "he $edia cul"ure. "his se?uence is ne3er hierarchical (i.s 1i"h holography or hyper"e/" $us" gi3e up "he idea o2 "he reader as "he ideal decoder o2 "he "e/" and $us" deal 1i"h a reader "ha" $a. being "rans2or$ed. co$pu"ers. E3en in "he single+1ord pieces "ha" e$ploy so$e . and so on. and holography. In so$e poe$s I use only one 1ord. speed. one chooses pa"hs bu" each locus displays 1ords on a "1o+di$ensional co$pu"er screen. a" leas" no" ye". 1ill genera"e $ul"iple and di22eren"ia"ed e/periences o2 "he "e/" and." add "o "he e/is"ing ele$en"s. in ())2. "ha" all o2 "hese occurrences are e?ually 3alid "e/"ual encoun"ers. :ol. 0ac. H+ The holopoe$ !ephyr 1as par"ially suppor"ed by a gran" 2ro$ "he 9i"y o2 9hicago 5epar"$en" o2 9ul"ural &22airs. 22. ())(. Para$e"ers used "o ani$a"e par"icles include li2e span (i. 2+ See' E. 7 olopoe"ry and Arac"al olopoe"ry' 5igi"al olography as an &r" <ediu$7. si4e. #ellingha$. or perhaps because o2 "he$. (). Elio". ?uan"i"y. SPIE :ol.3)> E. eds. . 7#urn" Cor"on7. ().. p.e/peri$en"al prose or poe"ry "ha" can only be read in elec"ronic or pho"onic $edia 1ill ha3e a hard "i$e reaching "he audience (ho1e3er s$all "his audience $igh" be). in Proceedings o2 "he In"erna"ional Sy$posiu$ on 5isplay olography. speed..()> eloNsa #uar?ue de ollanda and 9arlos &lber"o <esseder Pereira. ()0)+()3B. %&.)> and 78ecen" E/peri$en"s in olopoe"ry and 9o$pu"er olopoe"ry7. and 2unded by "he In"er+&r"s Progra$ o2 "he Ca"ional Endo1$en" 2or "he &r"s and The 8oc. 0ac. 0ac and 0.s challenge "o crea"e dyna$ic elec"ronic and pho"onic "e/"s "ha" reco3er "he concep"ual po1er and "he $ys"erious beau"y o2 language. S. *+ Par"icle sys"e$s can be described as a . in 9ollec"ed Poe$s. O ?ue L Poesia <arginal (S6a"ildeo Paulo' Edi"ora #rasiliense. I a$ grea"ly indeb"ed "o @oren #illings 2or her con"inuing suppor". 8egardless o2 "hese proble$s. 3)*+ 402.2eller Aounda"ion. (). 2(). B+ The holopoe$ Ha oc 1as suppor"ed in par" by a Ce1 Aor$s 8egional Eran".()> Elauco <a""oso. Perga$on Press. ed.. i" is "his genera"ion. Escracho (8io de !aneiro' sel2+published. 4+ The holopoe$ Astray in Deimos is in "he per$anen" collec"ion o2 "he <useu$ o2 olography. (). 3+ T. (). pp.4). . and "he Illinois &r"s 9ouncil &ccess Progra$. ()3H). Trindade. #race and 9o$pany. 1i"h addi"ional suppor" 2ro$ "he Illinois &r"s 9ouncil and 8andolph S"ree" Eallery. @ouis #rill.' arcour". CO 3-4. 2or ho1 long do "hey $o3e). &n"olorgia (8io de !aneiro' Edi"ora 9odecri. eds. Poesia !o3e$ I &nos *0 (S6a"ildeo Paulo' Edi"ora &bril.3)> E. 24 (8io de !aneiro' EdiMes Eang. ed. !ornal 5obrabil. (). a progra$ ad$inis"ered by 8andolph S"ree" Eallery and "he Ca"ional &2ro+&$erican <useu$ and 9ul"ural 9en"er. (H00. in olography as an ar" $ediu$. in 9hicago. 0ac. O/2ord (D0). !eong. T.2)> Elauco <a""oso. 8e2erences (+ See' E. @eonardo special issue. (S6a"ildeo Paulo' sel2+published. (Ce1 Gor.e. 22)+23H. pp.ind o2 ani$a"ion "echni?ue in 1hich large a$oun"s o2 3ery s$all "hree+di$ensional ob=ec"s (co$pu"er+genera"ed par"icles) are se" "o $o"ion si$ul"aneously under a co$bina"ion o2 rando$ 2ac"ors and algori"h$ic con"rol. (). 2).". Fu. p. CG' Pro$e"heus #oo.color. in &nnaberg+#uchhol4. (). Eer$any. Olson. 8ichard 0os"elane"4 (#u22alo. 7Pro=ec"i3e :erse7. There is no need "o crea"e . "o 0ac %eb .o2s. s"ar"ing and ending poin". I# Only As par"ially suppor"ed by a gran" 2ro$ "he 9i"y o2 9hicago 5epar"$en" o2 9ul"ural &22airs. 20. #ac. ed. (). place a" "he Ealerie &$ <ar. ) + 9. Once "he ani$a"ion s"ar"s.ey 2ra$es or "o se" $o"ion pa"hs 2or indi3idual par"icles. in Preposi"ions (#er. 7& S"a"e$en" 2or poe"ry7. ((+ This group e/hibi"ion "oo. and "he Illinois &r"s 9ouncil &ccess Progra$.(). 2B2.s. hundreds or "housands o2 par"icles $o3e by "he$sel3es under cons"rain"s se" by "he ar"is".eley and @os &ngeles' Dni3ersi"y o2 9ali2ornia Press. (0+ @. 2ro$ Sep"e$ber (2 "o Oc"ober 3.+ The holopoe$ May"e Then.y. ())2. . and direc"ion o2 "ra3el. p. in The &3an"+Earde Tradi"ion in @i"era"ure.