papertiger media publishes a range of poetry CDROMs. To help the technologically challenged amongst us, it should be highlighted that CDROMs are not the same as CDs.
They look the same, but there are a few important differences. Perhaps the most important difference being that you can't play one of our CDROMs on your home stereo (believe it or not, we sometimes get poetry lovers who somewhat foolishly try to play their copy of the papertiger: new world poetry CDROM on their CD-player).
To enjoy one of papertiger media's CDROMs, you need to have a PC with the following system requirements: 200 mHz Intel Pentium processor or greater / Windows 95, 98, NT4, 2000, XP / 32 Mb or more of available RAM / 100 Mb of available disk space / CDROM drive / 256 colour monitor capable of 800 x 600 resolution / Windows compatible sound card / mouse or compatible pointing device / Quicktime Player (included on the CDROM) / Macromedia Flash Player (included on the CDROM).
These are all fairly standard specifications for any relatively modern PC, so don't sweat the tech stuff - it's all good.
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As the first significant CDROM poetry publication in Australia, papertiger: new world poetry rocked the poetry boat at a time when most debate centred on the (now very tired) subject of 'print versus web', etc. For the founders of papertiger media, one of the aims of publishing poetry on CDROM was to subvert the debate by blending the best elements of books and ezines into one package.
The papertiger: new world poetry CDROM also aims to challenge the conventional notions of 'journal' and 'anthology', by not ever trying to be either. Rather, the editors of papertiger: new world poetry are happy to present an annual 'sample' of 100-150 poems from around the globe, including Australia, New Zealand, Singapore, China, Japan, the Philippines, Canada, Finland, the USA, and the UK. And not only poems in text form . . . each issue of papertiger: new world poetry contains plenty of multimedia, including video, audio and Flash poems, visual/textual art, interviews, and the occasional essay.
papertiger: new world poetry titles:
Here's what a few people have said about papertiger: new world poetry:
'papertiger: new world poetry captures the moment of a revolution in form, stylistics and energy. The tangible qualities of print are hybridized with a multimedia aesthetic . . . a marriage between textuality and movement is born.'
Jo Gray, RealTime
'papertiger: new world poetry is promoting a return to ancient poetic practices - taking poetry back to its oral and aural traditions.'
Mike Ladd, Sidewalk
'papertiger: new world poetry offers a stimulating and diverse range of provocative work . . . the strength and integrity so sought after in traditional print poetry.'
Elizabeth Amon, Fine Art Forum
'. . . it would be folly to start picking out my favourite pieces . . . there are simply too many and the writing is all so fresh and vivid . . . this [papertiger: new world poetry] is dynamite stuff.'
Justin Lowe, The Red Room + Retort
'[papertiger: new world poetry] accommodates many different forms or representations of poetry and many different ways of seeing, hearing or experiencing the poets . . .the end-user can read poetry from a two dimensional surface, as in print; hear the poet sound their work as a reading or song, as in audio recordings; see poets sounding their work or watch words as they act out their roles in the cyberspace of three dimensional environments, as in video recordings; or interact with poems and determine their direction or outcome . . . well worth its price and I feel will be a collector's item in years to come . . .'
Komninos Zervos, Cordite Poetics Review
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![subversions [generations of contemporary poetry]](/img/hdr_subversions.gif)
![subversions [generations of contemporary poetry]](/img/cover_subversions.jpg)
A one-off CDROM anthology showcasing the best poetry from five years of the Subverse: Queensland Poetry Festival, subversions [generations of contemporary poetry] features text poems from 44 poets along with a substantial photo gallery documenting the faces, flyers and fragments that helped to define what was, between 1997and 2001, arguably Australia's most progressive contemporary poetry festival.
According to Patricia Prime, in Stylus Poetry Journal:
'In this complex work, packed with erudite poems, encompassing a range of voices and forms, the editors have completed a major influential collection . . . a remarkable collection of poems by some of the best poets writing in Australia and New Zealand.'
View subversions [generations of contemporary poetry] »
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