Energy Arrival

The caverns and corridors of the 3D real-time engine programmed by a friend of mine seemed like an ideal place to exhibit my art. He used it to create a stunning, original first person perspective video game. I went into the code and placed poetry on every single frame of every sequence, quite independently of his work. The only obstacle to the task was the number of lines available.

When the engine went from bit-mapped graphics to super-charged bit map graphics, or bump mapping, the writing went from a large block font to a curvier font. The frames were ideal for haiku, but I never used it for that. As is always the case I struggled with the conventional poetic mold and instead only managed to get ten frames out of it. Later I deeply regretted not using the walls for haiku.

I was unable to fuse music with my project. Hypno while reading artistic CGI graffiti may not appeal to everybody anyway. My original poetry still exists in one of the compilations, and his video game design never faded. He became a prolific writer as well. I stayed a pure artist.

My friend later moved on to program NASA level astronomy rendering, but his computer was private. To perfect that rendering the computer must be wired into the government collective. This is just a brief history of the writing and programming that took place in 2001-2002.

Energy Arrival