In the late 1990s and early 2000s, I explored the internet as a creative medium through a series of small-scale projects. Hand-coded in HTML, these works combined poetry, music, photography, and performance at a time when such experiments were far from common. Influenced by Fluxus, mail art, and DIY culture, they represent formative steps in developing the interdisciplinary and publishing-driven practice that would later evolve into bd.

• metaphor poem (1999)
  A hybrid of mail art and web art, inviting participants to respond by post and incorporating their contributions into a multi-page hypertext poem.

• everlasting (2002)
  A single-page poem accompanied by my everlasting string quartet (performed by the Alexander String Quartet) and a series of portraits. The work reflects my early attempts to integrate text, music, and photography — a line of inquiry that became central to my practice as a whole. The quartet itself later evolved into the foundation for my electronic quartets album.

• ゴジラ’64 (2002)
  An interactive photo-hypertext combining poetry and a series of images of a Godzilla ’64 figure, exploring narrative through linked sequences of text and image.

• postmodpunk (2002, unfinished)
  A performative experiment in self-transformation, combining DIY clothing, photography, poetry, and live webcam performance. Left unfinished, the piece resonates with Fluxus notions of incompleteness and process.

• be all that you can be (2003)
  A collaborative photo-based work presented against a camouflage-patterned HTML background, using performance and portraiture to engage ideas of identity, irony, and empowerment.

• from only a mile away (2003)
  A web-based poem created in response to 9/11, integrating text, photography, and audio. This early effort to merge multiple media later informed The Language of History.

Taken together, these projects are less about polished outcomes than about experimentation itself. They mark an early search for ways to bring together text, sound, and image — and to use the internet not simply as a platform for distribution, but as a space of art-making in its own right.