Words and Images by Betsy DiJulio

Lessons from a French Kitchen by Richard Goodman

Limits by Dinah Lenney

Slaughterhouse by Marissa Landrigan

Home is Where the Beer Is by Adam Blake Wright

Navel Gazing by Samuel Stinson

The Sacred Canon by Betsy DiJulio

Game Over by PES

A Return to M.F.K. Fisher by Leo Racicot

Two Poems by L.A. Ashby

Dame Factor Inc. by Melanie Abramov

With Mangoes by Grace Pauley

Table 7 by Marko Slavnic

Monster Roll by Dan Blank

Revenge by Lernert and Sander

Poor Girl Gourmet by Amy McCoy

The First Taste by Saatchi & Saatchi and Heckler

Samba Salad by Sandra Kaas

flatten by Kay van Vree and Hugo de Kok

Ways of Cheddar Chex Mix by Megan Kimble

Menupoems 2014

Chocolate Bunny by Lernert and Sander

The Traveller Eggs by Nora Silva

Interview by Peggy Wolff

Fermentophone by Joshua Pablo Rosenstock

Lycopersicum by Uli Westphal

Cupcake Canon by Johnny Cupcakes and Kamp Grizzly

Street View Supermarket by Liat Berdugo

Modern Art Desserts by Caitlin Freeman

Travel Around the Hob by Nora Silva

Marzipan in Toledo by Kristen Hemlsdoefer

10,000 Items or Less by Blair Neal

Menupoems 2013

How to Explain It to My Parents by Lernert & Sander

The Burger Foundation by Michelle Ellsworth

Bebe Coca-Cola by D├ęcio Pignatari

Tournedo Gorge by Kathi Inman Berens

Food Remix by Michelle Ellsworth

Interview with Darra Goldstein

Eating on Berry Street by Emily Nemens

In the Most Unlikely Places by Jason Bell

The Birthplace of the Tomato by David Wanczyk

Pot Luck by Cindy McCain

Secret Foods


Tournedo Gorge

by Kathi Inman Berens

Let things taste of what they are.
- Alice Waters

December 2012    

Tournedo Gorge


Artist's Statement

Cooks and coders get their hands dirty. Darra Goldstein says in an interview here in Alimentum that knowing "how [food] performs when exposed to heat or to cold, or what happens when you add baking soda to something... [should] inform scholarly writing. Instead, there's too often a cluelessness about the materiality of food."

Goldstein's assessment also describes how some of us understand the Digital Humanities, a field that uses digital tools to perform the humanities' traditional work of interpreting literature, philosophy and culture. We've found that such interpretive work becomes something new and unforeseen when the critic or artist gets her hands dirty: that is, works not just to understand the thing, but to get inside its guts, via code, software, networked collaboration, or something else.

Real-world constraints let you see stuff you might have missed if you hadn't tried (and failed, and failed, and tried) to make something with your own hands. Cooks know this. If you forget to add baking soda, your quick bread will be thick and lumpy. If you drop a semicolon at the end of a string of code, the computer will concatenate everything you've typed since the last semi-colon into one long line of unexecutable code. The iterative process of tinkering humbles you. It makes you smarter.

I wrote "Tournedo Gorge" the weekend after I returned from my first conference hanging out with artists who make electronic literature. Electronic literature ("e-lit") is stories and poems that rely on the processing power of a computer to render the story, and on human interaction to initiate it.

My poem "Tournedo Gorge," like other poetry generators, requires just one human touch: call it up in a browser, and it will run forever, composing a new line of poetry every 1.2 seconds. I set that interval to give a human reader time to read the line aloud. An algorithm generates the poem, and even if you let it run for a couple of days, it will not repeat. Unlike an e-book, "Tournedo Gorge" and almost all other works of e-lit can't be printed out, because the changing interplay between human and machine makes the story go. Dene Grigar, with whom I've curated now three shows of e-lit, built this awesome website that explains the history of e-lit and its many emergent forms.

I made "Tournedo Gorge" by copying M.I.T. Professor Nick Montfort's original source code for his landscape poem "Taroko Gorge," which brilliantly imagines landscape poetry as the product not of a Wordsworthian romantic genius, but an algorithm.

When I first read "Taroko Gorge," it seemed like random output; I didn't hear the intentional and musical language of poetry. That changed when I heard Prof. Montfort read it aloud. The Latin root "inspirare" means "to give breath." He inspired the output into poetry. Now when I read "Taroko" scrolling on my screen, I still hear the cadence of human breath and voice. I find it beautiful.

Playing with Prof. Montfort's poem (and some subsequent remixes, to which he links on the "Taroko" website) was my first experience building with the scripting language JavaScript. As a cook, I like constraint. I scan fridge and pantry to invent combinations that might taste good together. The constraint of Prof. Montfort's code gave me a kitchen where I could throw things together. I Googled what I didn't know about js and broke other artists' working code to see how the operators functioned. Because they were all working off of Prof. Montfort's source code, it was easy to see what the variations could do.

I would never have seen such intricacy if I'd restricted my engagement to the front end of the poem. "Tournedo Gorge" is in this sense a feminist gesture: one woman's collaboration with unseen artists in an act of DIY learning.

At my daughter's eleventh birthday party, a dozen girls whipped pancake batter, fried bacon, mixed fruit, fluffed eggs, set the table, juiced oranges. They poured concentric circles of white cake batter brightened with food dye to bake a Dr. Seuss cake. Watching them sometimes awkwardly or tentatively wield the tools, I thought: this is how it happens. One pancake, one line of code. A meal, a poem.



Kathi Inman Berens, a lecturer at the University of Southern California, curates electronic literature. With Dene Grigar, she is curating the first show of e-lit at the Library of Congress on April 3-5, 2013. She is a fellow at the Annenberg Innovation Lab, where she researches embodied and virtual interfaces. Visit her at her website.