Aleph Null meets bill bissett

Jim Andrewsin visuaalisen runouden työkalu Aleph Null ja bill bissettin runoihin perustuvaa visuaalista runoutta.
Visual poetry tool Aleph Null created by Jim Andrews and poems with Aleph Null based on poems by bill bissett.

Aleph Null


Avautuu satunnaiseen näkymään. Käyttäjän on mahdollista valita valikosta eri runoilijoiden tuotantoa lähdemateriaaliksi ja muokata visuaalisia elementtejä, joita Aleph Nullin sivellin niihin tuottaa.

Click here to open Aleph Null with a random brush. In the menu you can choose a poet and adjust the visual elements created by the brush of Aleph Null.

Aleph Null 3.0


dirtee konkreet

bill bissettin runoutta Aleph Nullin siveltimen alla.

bill bissett poetry under the brushes of Aleph Null.


The Shape of Social Media to Come

Kolmen visuaalisen runon sarja sosiaalisen median tulevaisuudesta.
A series of three visual poems.

The Shape of Social Media to Come I


The Shape of Social Media to Come II


The Shape of Social Media to Come III

Intimations of Modernity

A  prose poem.

You hear the screech of tires and some screams. You hear the roof vibrating and moving through the night. You hear about so-and-so committing suicide. You have to think of all the sounds like they’re a symphony, otherwise you’ll go crazy. You didn’t do anything wrong. You just want to know what actually happened. You glance one way and then the other. You ask, “Oh why can’t they get that baby out of the ground?” You don’t belong here. You need to leave. You have to have a bit of an attitude to pull it off. The police are the same as during Franco’s time, only they had horses back then.


The messiah of some obscure sect raged up and down the sidewalk, yelling, “I shall destroy all of the civilized world! You shall die by your own evil creation!” There was ash already in the air. I had never been in a war zone but I was pretty sure that this was what it felt like. By week’s end, I had become obsessed with my escape route. I pored over Google Maps, travel guides, railroad timetables. But, of course, when I opened the front door, I was confronted with fire. People just stood there and watched, happy to lurk unrecognized in the noise.


I’ve read many times in newspapers of some kind of shooting. But actually experience it? No. Never. It’s like everyone is just doing Tarantino knockoffs. They’re imagining the pain of the bullets hitting them. I’ve seen the really bad stuff on television. They shoot seven people in the head, and then they rush to their cars and leave. What else could you have expected? This is our history, everywhere full of blood. It’s clear and simple, and it’s in HD.


No, I don’t get it. How does anyone sleep at night or get through the day? We don’t yet have the tools to see what we’d really like to see. I can’t remember now why I ever thought we would. As we walk around, we meet orphans and autodidacts and then a man drinking in the woods. He keeps saying he’s going to kill someone. And no cops for miles. So, yeah, the best part of the day is early in the morning, very early, before something that hasn’t happened yet moves and just as suddenly stops moving.


A baby is crying on the ground. Everyone else is dead. No one I ask can tell me if this is real. “Sorry,” they just say. That’s the point. How we just don’t see very much of anything. There are so many refugees, and more coming all the time, and most of them have only a bit of white fluff, a frail bicycle, a bowlful of agriculture. I was once in a pretty bad car wreck. And it’s like that. We have a strange way of repeating history. I say “holy fuck” about 1,400 times a day