From the early 1990s, Davinio was a pioneer of Italian electronic poetry, in the experimental field among writing, visual art, and new media, using computer, video, digital photography and the Internet.

[9][10] The participants included Julien Blaine, Clemente Padin, Philadelpho Menezes, Mirella Bentivoglio, Lamberto Pignotti, Eugenio Miccini, and many other new media artists, critics, and experimental poets.

[15][16][17][18][19][20] She exhibited animated digital poetry works - called "Terminal Videopoems" - in the 1997 Venice Biennale, in VeneziaPoesia, a project directed by the poet and writer Nanni Balestrini.

[23] Davinio's net-poetry participated in the Venice Biennale also in 2001 - Harald Szeemann curator - in the context of Bunker Poetico,[24][25][26] which was a collaborative installation - involving 1000 international poets and artists - created by the architect Marco Nereo Rotelli in cooperation with Istituto Italiano per gli Studi Filosofici of Venice, Massimo Donà, I Quaderni del Battello Ebbro publisher, Caterina Davinio, Milanocosa cultural association, and others.

[27] Davinio engaged in this project renown avant-garde poets and organized a virtual happening on-line called "Parallel Action-Bunker", simultaneous with real readings and performances at Orsogrill delle Artiglierie, a venue of the Venice Biennial.

[31] In 2009, she created the virtual installation The First Poetry Space Shuttle Landing on Second Life and other on-line happenings in the 53rd Venice Biennale Collateral Events, engaging more than 200 poets from around the world, to celebrate the centenary of Italian Futurism.

[65] Davinio lived a turbulent young life marked by heroin addiction and abuse of drugs and alcohol; this experience emerges in many of her literary works, particularly in Il libro dell'oppio 1975 – 1990 (The Book of Opium 1975 – 1990).