Rozalie Hirs


Contemporary Compositional Techniques and OpenMusic (book, software)

Rozalie Hirs, Bob Gilmore: Contemporary Compositional Techniques and OpenMusic (Paris: IRCAM/Delatour, 2009)

The first part of this book contains an interview with Tristan Murail and three essays on musical works of Claude Vivier (Lonely child, 1980), Gérard Grisey (Quatre chants pour franchir le seuil, 1997–98), and Tristan Murail (Le lac, 2001) by Bob Gilmore, Jean-Luc Hervé, and Rozalie Hirs. The authors provide detailed analyses of these works, focusing on the frequency-based techniques and compositional processes employed by the composers.

The second part of the book originated in OpenMusic and Contemporary Compositional Techniques, a series of lectures and workshops given by Rozalie Hirs and guest professors Tristan Murail, Mikhail Malt, Benjamin Thigpen, Marco Stroppa, and Niels Bogaards at the Conservatorium van Amsterdam during the 2005/06 academic year. The series was initiated by the Nieuw Ensemble and its artistic director, Joël Bons, as part of the annual Componistenpracticum. The Nieuw Ensemble and conductor Lucas Vis rehearsed and performed new pieces written by an international group of composition students from the Conservatorium van Amsterdam and the Royal Conservatoire in the Netherlands. In turn, the students documented their creative process in the seven essays included in this volume. An extensive essay on Tristan Murail’s compositional ideas and frequency-based techniques originated in the lecture series given by Rozalie Hirs. It provides the most detailed discussion of Murail’s work available in English today.

The two articles by Rozalie Hirs were written with financial support by Prins Bernhard Cultuurfonds (2003-05) and Amsterdam School of the Arts (2006-07). The article On Murial’s Le lac was part of her D.M.A. dissertation at Columbia University (2007).
Press release [PDF]

All OM patches discussed in the book were programmed in OpenMusic. All OM patches illuminating the ideas and techniques of Tristan Murail employ the OMTristan library. The original OMTristan library was developed by Tristan Murail. Rozalie Hirs merged OMTristan with the original Esquisse library; the menu and object names were unified and translated into English; those characters that are forbidden or active in CommonLISP were removed from the object names. It was upgraded to versions 3.0 and 3.1 for use with higher versions of OM and MacOsX by Jean Bresson, and further debugged into version 3.2 by António Florença for use with the latest OpenMusic software. In the summer of 2016 Tristan Murail and Rozalie Hirs added some new functions to the OMTristan 3.3. In the Spring of 2018 Jean Bresson updated the library in order to make it compatible with the current version of OpenMusic 6.13. Feel free to share the updated library through this page. Enjoy!

OMTristan 2.0 for Mac PPC and pre-Intel versions of OM
OMTristan 3.0 for Mac Intel and PPC and OM 6.1.2-6.5
OMTristan 3.1 for higher versions of OM and MacOsX (14 February 2014)
OMTristan 3.2 for the current version of OpenMusic (7 October 2015)
OMTristan 3.3 with added functionalities, for the current version of OpenMusic 6.10-6.12 (19 August 2016)
OMTristan 3.4 compatible with OpenMusic 6.13 (7 April 2018)

N.B. As a general rule keep in mind that OMTristan works best in OpenMusic on its own, i.e. try to avoid loading too many other libraries while working with OMTristan.

Microtonal playback
You might like to address problems concerning microtonal playback (within the current version of OpenMusic 6.10) by using the free software SimpleSynth and taking the following steps to set up playback. You can download the additional simplesynth-basics.omp patch, devised by Tristan Murail, here.

When initializing for the first time:
A.) open MIDI setup in Audio MIDI Setup
B.) doubleclick IAC Driver
C.) create 2 virtual midibusses: IAC bus 1 and 2
D.) make them active => V put online
E.) open SimpleSynth
F.) select IAC port 1 from menu
G.) launch OpenMusic; open your current workspace or create a new one
H.) import the simplesynth-basics.omp patch into your current workspace and evaluate steps 1-3

Always when opening OpenMusic:
A.) open SimpleSynth
B.) launch OpenMusic
C.) open the simplesynth-basics.omp patch and evaluate steps 1-3

(Remember to switch on ‘Auto microtone bend’ by ticking the box in OpenMusic Preferences/MIDI)

[Speling] ([Leeway], 2005)

Image: 'De opgerolde weg', Voebe de Gruyter, 2004; Cover design: Brigitte Slangen

Published on: 2005
ISBN: ISBN: 9789021467344

Geluksbrenger (Lucky Charm, 2008)


1. poems from Geluksbrenger
1.1. Family Tree
1.2. Tumbler
1.3. Read all poems online

2. review of Geluksbrenger
2.1. Alain Delmotte: Returning home in a mill

2. digital poetry Geluksbrenger online
3.1. mobile
3.2. crystals
3.3. rorschach shapes
3.4. text appearance
3.5. halo
3.6. daily flying
3.7. lines
3.8. deconstruction
3.9. like water
3.10. sources, references

poems from Geluksbrenger

Family tree

mother femme fatale pulled from the mud father weeds grow everywhere
brought the spirit from mothermother butterfly of tales worth a lifetime
motherfather in blue jaguar sugar-coated easter eggs of magic motherbrother
four years old ferried in pyjamas across the river IJ mothermothermother
died young mothermotherfather baritone undone by women and drink
mothermotherfathermother threw the digging of the Overtoom in a sock
100 saved guilders dream at the foot of the bed motherfathersister
cast away household drudge dismissed as mad born 19 October 1919
motherfathersister alleged mothermother fathermother imagined link
between everything tractatus fatherfather for cigars and a drink
neighbourhood letter writer fathermothermother unmarried without means
fathermotherfather in flesh and blood repudiated in the name of the stone
the fortune from his fathermotherfatherfather first paint manufacturer
in the netherlands established in haarlem gambled away on horses drowned
his 19th birthday fatherfathermother had 15 children of whom the youngest
fatherfather living tree brings to life music or is it words?

(translation: Ko Kooman)


blissful state of residing below sea level or above
the clouds finding a dusty feather the bird and all

changes in the twilight comments disappear from the sun
shimmering with rain the weight the things more

or less is what we call life small white flowers that grow
between stones are there enough memories for a stream

of things compressed into a moment with this image
or feeling the grass that waves the reed sings and water only rustles

in the language of birds or whales and flows just as long
as the air around trees loses itself in time and lives

in memories uninvited evidence in the presence
of whales and birds through water smoothened pebbles

color where this is going that you live and know you will pass
as all meaning in the end your consciousness a short summer

(translation: Willem Groenewegen)


review of Geluksbrenger

Returning home in a mill (selection of the review translated into English)
Alain Delmotte, Poëzierapport, Belgium, 14 May 2009

The musical poetry of Geluksbrenger (Amsterdam: Querido, The Netherlands, 2008) by Rozalie Hirs is constructed along the line of a ‘counterpoint’. Within a poem, Hirs seems to be stacking different poems on top of each other, processing them, splicing them, mixing them, shaking them, letting them flow into one another. And this is one single motion. In one breath. In sustained breath. However composed and constructed her poems may be: the writing never feels artificial. Her poems desire. Her poems are blazing with exuberance, offering a large choice of possibilities. […]

Breathing is probably a key concept in this collection. Breathing is the first thing a human being does. His first confrontation with the world. The first word we spoke may have been an inhalation. (I regret that this word can’t be spelled. It’s not in the Van Dale dictionary either. But it bridges all the meanings of all the words that can be found in that sublime book.) With the concept of ‘breath’ she immediately indicates the mental boundaries of her poetical domain: thinking and feeling are both part of that. With breathing, language commences, with breathing it commences within a body. Caught up in thinking and feeling breath is no more than the tangible presence of a body (that always finds itself within the now, within the today) within one poem, one word, one sentence. […]

And the mill keeps turning many a poem long, the words keep on coming, the words are streaming. A stormy homecoming. Technically, she achieves this word-stream effect by eliding the punctuation marks (consistently every poem starts with a capital, surely a detail, but indicative of a striking meticulousness). Ever since Apollinaire this technique is an old trick but it works. Sentences seem to form bridges across each other, to overcome one another, to be ahead of each other, to inflate one another. This way poems appear that are chock full of anacolutha: a deconstructive stylistic device that is being used throughout the collection and that, as has been mentioned, keeps its effect of surprise.

Geluksbrenger is divided into four cycles, distinguishable from each other in their visual design, but stylistically connected by minimal repetitions and subtly recurring motives that are confronted with different contexts. The visual design changes gradually from cycle to cycle: one notes a shift from compact blocks of prose-like text to a typography that branches out all over the page, eventually coming back to density in the final poem of the last cycle – called, probably not by coincidence, ‘In één adem’, ‘In one breath’. Something has set the cycles structurally (and physically) in motion: it is as if, all through the collection, the poet has been inhaling deeply.

Thematically, something similar happens. The themes shift from the concrete to the abstract, from the particular to the cosmological: from a poem about a family tree to a poem about UB313 2003; from the insignificantly small to the quasi spiritual (the mystic Hadewijch appears in one of the texts.) In both cases this happens at the level of language and always with the sensitivity of fingertips. […]

Read full article [Nederlands]


digital poetry Geluksbrenger online

In 2006, visual artist/new media artist Harm van den Dorpel collaborated with Rozalie Hirs in the second installment of Poëzie op het Scherm (Poetry on Screen), an initiative by the Dutch Foundation for Literature. At the official presentation at De Waag, Amsterdam, May 17, 2006, Hirs and Van den Dorpel presented two interactive poetry applications: Stamboom (click the icon under the poem to open the digital app), and Tekstverschijning.

When the collection Geluksbrenger (Amsterdam: Querido, 2008), of which these two poems were part, was sold out, the duo decided to offer the entire collection online. Harm van den Dorpel chose to work within an html environment, within which he developed all programs for the applications by himself. On February 11, 2011, Geluksbrenger online was released with poems, recordings and music (listening spaces, spoken word, and musical pieces with text) by Rozalie Hirs, and interactive poetry applications developed by Harm van den Dorpel.

The interactive applications make the experience of reading, normally restricted to the page and the head of the reader, tangible and visible. As a reader, one makes choices over and over again while reading, thereby actually recreating the text as one reads, usually more than one realizes. Interactive applications and digital poetry can provide an insight into these interventions into, and recreations of, the text, and show something of the reading experience, or even the writing experience of the poet. Because of the diversity of applications that were developed, several different approaches and resulting apps are being mentioned here separately:

Example of a mobile moving with the movement of your mouse, generating pseudo-wind and pseudo-gravity
Stamboom (available in Mandarin, Spanish, English, German, French, Dutch, Swedish; including a listening room)

Examples of underlying crystal structures, based on the recurrences of words, made visible
Hadewijch (available in Dutch only)
Definitie (available in Dutch only; including a music composition)
Een wens (available in Dutch only)
Zon dezelfde kamer (available in Spanish, English, German, French, Dutch; including a music composition)

Rorschach shapes
Examples of Rorschach shape apps
Prologos (available in Spanish, English, French, Dutch; including a listening room)
Van wegen (available in Dutch only; including a listening room)
Kijker oog grijs (available in Dutch only)
Wereld van nu (available in German, French, Dutch)
Topologie (available in Dutch only)
Nachthart (available in Dutch only; including a listening room)
UB313 2003 (available in Spanish, English, German, French, Dutch; including a listening room)
Leven mogelijkheden (available in Spanish, English, German, French, Dutch; including a music composition)
Vorm (available in Spanish, English, French, Dutch)

appearance and disappearance
A example of the appearance and disappearance of letters and text
Tekstverschijning (available in French, Dutch)

A halo that obscurs the actual object when pointing at it
Ziverdauw (available in English, French, Dutch)

daily flying
An example of daily flying

An examples of lines to write on or read from
Toen leerde ik (0-38 jaar)

An example of deconstruction applied by hand
Maken breken

like water
An example of a poem as a vessel filled, then emptied

Examples of quotations, references, sources
Gevonden voorwerpen

Published on: 2008-11-27
ISBN: ISBN: 978-90-214-3503-9

gestamelde werken (work in stuttering, 2012)


1. poems
1.1. a day 1-3
1.2. an angel
1.3. who put on my shoes

2. reviews
2.1. Piet Gerbrandy: A skin rock of water
2.2. Arie van den Berg
2.3. Reviews in Dutch [PDF]

3. digital poetry: sightbook of work in stuttering
3.1. alter ego 1 – Nicky Geneva, Blogger
3.2. alter ego 2 – Agatha van der Aa, YouTube
3.3. alter ego 3 – Diederik Lamme, Tumblr
3.1. alter ego 4 – Anna Sherman, Facebook
3.1. alter ego 5 – Paul Wittema, Twitter
3.1. alter ego 6 – Marc Thompson, Instagram

poems from gestamelde werken

a day


flying eyes with springy wings lights shed
on a map sketched in hands flaming wide-awake
I didn’t say that a breathless featherweight
nectar guide and pollen of living poppies blue
fields of cornflowers like heads popping out a one-eyed
cloudless sky that dreams emerge from
silkworms in thousands of yards
spinning languages on green-grey mulberry leaves covered
with hairs revealing threads come to meet
an amorous sun just like that uninvited or rain
stretching antennae for just a moment a touch
of unfolding wings towards what is (a day)


where do butterflies come from that invasion of springlike
sensitivity to light unbearable off-white spotted
wings woken from a dream night so early
a handful of morning dew drunk from shining
leaves of grass and a few hours that sounded like deep bells
in a village between non-specified mountains
where people live somewhere on earth harvest leaks and onions
in the crevices apples in an orchard and trees blossom
grapes burst for fermenting in stainless steel barrels
soon tantalize a nose the palate then
slide over the tongue as a foretaste of who tonight
in a few hours prelude to once more (a day)


is a country of kingfishers revealed in the window
then frost flowers crackle on warm breath towards lips
move like memories, loosened hair past clouds
paths not visited by spotted butterflies or the wind
a house the brushwood rainwater frozen in a roadside verge
earth vanishes under a white glittering expanse
wrapped in rays of light the same clouds sketch
again some mist past the chilly morning
flakes spring into the light an arching
of horizons lets shadows finger by finger
glide past trees wakeup repeat oneself
word for word a breathing into (a day)

(translation: Donald Gardner)



an angel crosses street meets a man
vanishes round the corner
when the angel and the man
have seen each other at least

appears on the scene the shining of eyes
a frenzied quest for downcast eyelids or
scraping up words off the floor shards of
an unfinished conversation until further enquiry
in imperfect tense as long as you live
and give way and give way
vanish at a blink of an eye

or a word from a maze of surrender
to what is promising or –
at any rate – available

fully conscious body

(translation: Donald Gardner)


who put on my shoes

[1 ]
there look at those wild-strawberry leaves purring a little
cat between thorns where a tree shakes its swaying antlers
by skeletal islands dry-as-dust wind
swift cuts a tail into two points punt drifts
riverbanks to my right-as-rain roses on hairpin legs
toes with thoughts and tongue in cheek clacking
the buds burst out of their husks happy to be alive I am
daybreak lilac when its bursting spray allows
and birch bark curls dance in wind


grass verges the edge of a field in marram grass peeled
gooseberries clover there leafage theft leaves its trees autumnal
a leggy horse runs in circles like a daft thing dances
through parched fields pulls out plough and root
drowns where boat strikes land with sail mast
along the path spotted woodpeckers wave for fourteen years
I wept come now come then stubbled morning
as we arrive at snowdrops lady’s mantle meadows
water green lilies whitish pearling earth


crazy about figs and lilies birds dipping
in a lake where sunlight blazes and screeching wind consumes earth
with rapidly scooped paper lightning-quick swept-up clouds
airy meadows white cut I came over light hills
and met with death who put on my shoes
in spring frost I walked off on bare feet
among evergreen pine groves through mudflats
waded through the tide to the sea bellying to my calves
remnants from ice aged wrinkled branch crackling
flower its buds letters bursting open seize the day
the night and endless waterways gleaming ribbons
through fields with nettles at my feet


that morning hoar frost so buds and buds the milky white sun
on roof tiles dancing rain along free ranging field path
caressed head and cheekbone olive branches
cradle ash tree branches then I leap with eiderdown out of bed
drink magnified water squamous dream bits
lost on air float down a path where coltsfoot hops
with trotting hoof prints I plant midnight feet
in the pale grey field covered with powdery snow
beside little duckweed boats adrift on the mire


with pomegranate leaves their scarlet hairs
I see loosestrife rooting through fields
weeds cuttings of horsetails a land full of may
moisten earth to sow spring ask mountains the time
not to be spun fine pale yellow plumed thistles not to come too close
pods float in ditches reflect white elderberry sprays
a smell wrapped in jasmine hats lost on air
speckled mossy green climb with daisy stalks
ladders along hair pupating into peacock butterflies


as if I could hear light falling through walls in a village
of trees reveal themselves an entire road close by
blossoming I entrusted water lilies and lotus
blindly to water in blazing sunlight first tines
follow limbs driven by wind directions ships
of bark murmuring pebbles in the beck roll slowly
towards dune rumbling past hovels grief charmed early floored
marsh flowers of hand-shaped parted leaves
I weave starry wreaths calyxes to drink from


in knuckles little daggers of burning larch needles
always stab red staggered tortoiseshells springing where
hogweed grows beside pale birch bark bees zoom
the moon its antics see flagellates springing nightingale
then I eat belladonna slimy frogs legs hop
in curling beck between the script of tiny scots pines
bellowing sea joy billowing honey streams of cotton grass
bones of verge grass batter against a hill beacons
in the distance ships understand mirroring each other to shards

(translation: Donald Gardner)



Piet Gerbrandy: A skinrock of water
De Groene Amsterdammer, Amsterdam, The Netherlands, 31 October 2012

in knuckles little daggers of burning larch needles
always stab red staggered tortoiseshells springing where
hogweed grows beside pale birch bark bees zoom
the moon its antics see flagellates springing nightingale
then I eat belladonna slimy frogs legs hop
in curling beck between the script of tiny scots pines
bellowing sea joy billowing honey streams of cotton grass
bones of verge grass batter against a hill beacons
in the distance ships understand mirroring each other to shards

When looking at an impressionistic painting from a certain distance, one undergoes an explosion of color which still can be interpreted as a representation of reality. The painter employs a kind of fragmentation in order to create the impression of a larger whole. When you observe the canvas up close, you only see little dots, loose elements of which you scarcely can imagine that they may belong to a coherent unity. It is strangely paradoxical that so much technique is required in order to approach nature.

Rozalie Hirs (1965), also a prolific composer with a background in chemical engineering, is a poet who likes to reveal how her work comes about. Instead of merging splinters into a natural whole, she breaks unities down to sparkling shards. What remains is often a stuttering, yet not that of a desperate poet who is not able to word the unsayable. Hirs rather tries joyfully to factorize the sayable. Her poetry is contructed through and through, while her starting point often is an experience of the senses, reminding of the early Dutch poet Herman Gorter. She writes sensitive verses that ideosyncatically strive for a balance between romanticism and mathematics.

An important motif in gestamelde werken is the dawn of a new day, waking up to open your eyes for the light. In the first poem, the eyes set off into the morning like butterflies:

flying eyes with springy wings lights shed
on a map sketched in hands flaming wide-awake

In subsequent lines, poppies and cornflowers bloom and dreams are compared with silkworms that go to meet a sun in love. What they spin, however, is not silk but language. As soon as you try to see what it says on the level of words and word groups, you get lost, but if you read the poem out loud a few times, a convincing whole emerges, ‘for just a moment a touch/ of unfolding wings towards what is.’

The second series involves an intriguing process of dismantling and repeated assembly. The material is given by the opening poem.

it wants and will you against that tree there
look away from your stem blossoming pearls
wettest bath of seeds drink pastures
seven streams along the tabletop at once
meadowing our hands into a daredevil stairwell

Hirs makes groups of words and sentences flow into one another in such a way that a polysemous stream of language arises. Some lines further on, the human figure is strikingly described as a ‘skin rock of water’. We are at once solid and fluid. The same holds for the poems, thorough constructions that are as ungraspable as water.


Download PDF (Nederlands)
Online review (Nederlands)

Arie van den Berg: De rijpgrage bomen buigen>
NRC Boekenbijlage, The Netherlands, 4 January 2013


Hirs likes to go all the way, and thereby reaches for the highest points. She is a composer as well. Her best poems ‘sing’ and have a forceful melody. Ever since her debut collection from 1998, her development can be traced clearly.

If the poems in Locus (1998) and Logos (2002) seemed traditional when taken by themselves, already the second collection was conceptually organized. Logos is a through-composed opus about the human body. In reading poem by poem, you can escape the concept, but on the middle pages it is clear as daylight what the poet’s intentions are. There, a skinned body points to two- or three-letter codes referring to the alphabetically ordered poems in the collection. Here, I think, Hirs made use of the constructive achievements of her education in chemical technology and composition. It was the first impulse for three subsequent volumes of poetry of ideas. In [Speling] (2005) the concept was still very modest. On the first 39 pages, the poems grow, more or less regularly, one line at a time. Then the system falters, and finally the lines fall apart all across ten pages. In Geluksbrenger (2008) Rozalie Hirs made further strides towards disintegration, especially syntactically. Her poetry did no longer obey linguistic laws. Her lines escape the rules of language and started even to swarm about guided by the typesetter’s hand.

Gestamelde werken, too, finds Hirs toying with the rules of communicative language. Rather than in proclamation her message is in sound and the atmosphere that is evoked thereby. […] A happy example of that is offered by one of the shortest poems in the collection. […] In her longer poems, Hirs constructs such atmospheres in no less sonorous ways. […] Hirs’s poetry intrigues me. Her stammering may be constructed, most of all she seems to be out on an investigation. And her investigations are a poetic adventure. For readers who are also curious.

Download PDF (Nederlands)
Online review (Nederlands)

Paul Demets: Ladies’ time
De Morgen, Belgium, 16 January 2013
Download PDF (Nederlands)

Joost Baars: Poëzie voor scheppende lezers
Poëzekrant 7-8/12, Poëziecentrum, Gent, België, Amsterdam, 2 januari 2013
Download PDF (Nederlands)

Ricco van Nierop: Tussen wonderschoon en bevreemdend in
De Recensent, 10 October 2012
Online review (Nederlands)
Online podcast (Nederlands)


RozalieHirs: gestamelde werken (ontwerp & foto: Michaël Snitker)


digital poetry – sightbook of work in stuttering

The Belgian duo, Cox & Grusenmeyer, designers and visual artists, created six online personas for six poems or cycles from the collection gestamelde werken (Amsterdam: Querido, 2012), by Rozalie Hirs. They let these six characters – or alter egos, as they call them – come alive on six different social networks. In choosing the poems, Cox & Grusenmeyer took their own reading experience as a starting point, their encounter with the poem in question. What does the poem speak of? How does it appear? How does it show itself? Does it speak slowly, quickly, loudly, in a singsong, awkwardly? Is it neutral in tone, aggressive, longing, lyrical or seductive? They chose very diverse poems or cycles and characterized their encounter with the poetry in catchwords. That way, they developed six very different characters for the poems, characters they made come alive on the social network that seemed to fit the character most closely. By way of the links below you can visit the characters and become part of Cox & Grusenmeyer’s reading experience.

All images were made especially for this project and are legally protected by copyright ©2012-2013 Cox & Grusenmeyer. The words shown in the images, photos, video and graphics are quotes from the poems by Rozalie Hirs. These concern the following six poems or cycles, all of which appear integrally: ‘lieve lente lacht’ (p.33), ‘vier de stameling’ (pp.52-53), ‘who put on my shoes’ 1-7 (‘die deed mijn schoenen aan’ 1-7; pp.54-61; English translation: Donald Gardner), ‘a no’ (‘een nee’; p.31; English translation: Donald Gardner), ‘long at present longing’ 0-6 (pp.16-23), ‘duizend en één pixel’ (p.36). The project received financial support from the Netherlands Foundation for Literature.

Sightbook: alter ego 1 – Nicky Geneva, Blogger

Visit Nicky Geneva’s blog

Zichtboek: Alter Ego 1 (Nicky Geneva, Blogger), Cox & Grusenmeyer op basis van het gedicht "Lieve lente lacht" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Sightbook: alter ego 2 – Agatha van der Aa, YouTube

Watch Agatha van der Aa’s videos on YouTube

Zichtboek: Alter Ego 2 (Agatha van der Aa, YouTube), Cox & Grusenmeyer op basis van het gedicht "Vier de stameling" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Sightbook: alter ego 3 – Diederik Lamme, Tumblr

Leaf through Diederik Lamme’s notebook on Tumblr

Zichtboek: Alter Ego 3 (Diederik Lamme, Tumblr), Cox & Grusenmeyer op basis van het gedicht "Who put on my shoes" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Sightbook: alter ego 4 – Anna Sherman, Facebook

Become friends with Anna Sherman on Facebook

Zichtboek: Alter Ego 4 (Anna Sherman, Facebook), Cox & Grusenmeyer op basis van het gedicht "A no" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Sightbook: alter ego 5 – Paul Wittema, Twitter

Follow Paul Wittema on Twitter

Zichtboek: Alter Ego 5 (Paul Wittema, Twitter), Cox & Grusenmeyer op basis van het gedicht "Duizend en één pixel" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Sightbook: alter ego 6 – Marc Thompson, Instagram

Follow Marc Thompson on Instagram

Zichtboek: Alter Ego 6 (Marc Thompson, Instagram), Cox & Grusenmeyer op basis van het gedicht "Long at present longing" uit de bundel gestamelde werken (Amsterdam: Querido, 2012) door Rozalie Hirs

Location: Amsterdam, The Netherlands
gestamelde werken (Amsterdam: Querido, The Netherlands, 2012)

Published on: 2012-09-17
ISBN: ISBN: 978-90-214-4243-3

Logos (2002)

digital poetry: Logos Digital

Halfway into the writing process of the poems of Logos, the frequent appearance of body parts, colors and numbers became apparent. Hirs decided to include an anatomical map within the collection, by which the reader might navigate through the book as if it were a body. The artist Noëlle von Eugen was invited to create this map. Along with the body parts, von Eugen listed abbreviations for the titles of all the poems in which that body part appears.

Since the anatomical map in fact functions as a hyper structure of the collection, it became a natural next step to present the entire collection online as well. Matt Lee programmed the site in Flash and presented the Logos website in September 2003. By following hyperlinks on the anatomical map, and within the poems, the reader can navigate directly to the poems in which the body part in question appears, and also jump from poem to poem.

The website is now available for download as an autonomous app.

Rozalie Hirs: Logos map, 2002 (illustration: Noëlle von Eugen)

Published on: 2002
ISBN: ISBN: 9021467089

Locus (1998)

Published on: September 1998
ISBN: ISBN: 9789021466439