Remain through several cycles
The work develops across return. One line cannot carry the weight of the whole machine.
A generative e-poem · by Mozare · 2026
Grave-Machine
Grave-Machine is a generative poem drawn from the dramatic world of Grave. The work places bodily remains and administrative processing inside the same recurring procedure. On one side, the poem continues. On the other, a quieter trace records how each line arrived.
Accumulated surfaceRuntime trace
Watch the materials come back
A body can return as paperwork. A room can become a processing site. Repetition changes the pressure of each word.
Read surface and trace together
The poem remains primary, while the quieter receipt keeps its construction near enough to inspect.
DOCUMENTED STATES
State atlas
The images follow the work as its sparse beginning becomes an accumulated field, then opens its statement without losing the machine below.
01
First event
One line arrives beside one current receipt. The relation between poem and procedure is established before accumulation begins.
Early runtime
The current receipt precedes the generated surface, keeping the two readings distinct on a narrow screen.
Accumulated surface
Several lines remain together long enough for recurrence to become perceptible without producing an endless feed.
Statement
The statement enters above the running field, so context does not detach from the work it describes.
CONTEXT
From dramatic material to generative return
Grave was written as the practical component of Mohammad Zare's MA in Dramatic Literature. Its scenes place bodies beside paperwork. Rooms become processing sites, and workers move through an environment where burial begins to resemble administration.
Grave-Machine does not adapt the play as plot. It extracts a field of pressure and gives it a new temporal form. Words return under changing arrangements; pauses interrupt accumulation; the surface keeps moving without offering a final administrative closure.
A transformed lineage
The work also belongs to the remix lineage opened by Nick Montfort's Taroko Gorge. It inherits the proposition of a readable poem-engine, then changes the ground it carries. Bodies return as records. Graves become sites of procedure. Return itself remains unfinished.
CURRENT STATE