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1. The Johns Hopkins Guide to Digital Media

   The study of what is collectively labeled "New Media"—the cultural and artistic practices made possible by digital technology—has become one of the most vibrant areas of scholarly activity and is rapidly turning into an established academic field, with many universities now offering it as a major. The Johns Hopkins Guide to Digital Media is the first comprehensive reference work to which teachers, students, and the curious can quickly turn for reliable information on the key terms and concepts of the field. The contributors present entries on nearly 150 ideas, genres, and theoretical concepts that have allowed digital media to produce some of the most innovative intellectual, artistic, and social practices of our time. The result is an easy-to-consult reference for digital media scholars or anyone wishing to become familiar with this fast-developing field. (Source: JHUP website)

   Alvaro Seica - 21.01.2015 - 15:53

2. Between Text, Video and Performance: Landscape in Pamela Brown’s ‘Ireland Unfree’

   Between Text, Video and Performance: Landscape in Pamela Brown’s ‘Ireland Unfree’

   Anne Karhio - 22.01.2015 - 14:54

3. From page to screen: The Poetry Project and the poetics of landscape

   In 2013, as a part of the Culture Programme of Ireland’s EU presidency, The Poetry Project was set up by the Kinsale Arts Festival in partnership with Poetry Ireland and the Royal Hibernian Academy. In the project, poems by established and emerging Irish poets were coupled with works by Irish video artists. The resulting collaborative works were published each week, for nine months, on the project website and emailed to recipients in Ireland and in more than one hundred countries around the world. This presentation focused on how the verbal, visual and auditory elements of the works published within The Poetry Project simultaneously enact and reflect the challenges and discontinuities related to representations of place, space and landscape in the poetry of the digital era.

   Anne Karhio - 29.01.2015 - 17:09

4. The Digital Reception of a Hundred Thousand Billion Poems

   The Digital Reception of a Hundred Thousand Billion Poems

   Alvaro Seica - 29.01.2015 - 17:13

5. A Knot in Time Is Not a Not’: Flux Narratifs et Temporalités

   A Knot in Time Is Not a Not’: Flux Narratifs et Temporalités

   Alvaro Seica - 03.02.2015 - 15:30

6. “Cause Timing is Money and Money is Time”. Six Theses on Monetary Post Humanism in the Digital Age

   In his essay ‘Ego’ (2013), Frank Schirrmacher describes how, by means of a digitalized global marketing strategy, a virtual double of the human subject is installed: the subject as agent or player in the market, represented in data collections and rendered predictable in game-theoretical data analysis. Game theory has failed to predict the behavior of real-world people; yet, in their virtual second existence, the subject is forced into a game-theoretical predictability. In recent big data technology, the subject’s double (or “number two”, as Schirrmacher calls it) is becoming more and more powerful, with nearly every action of a person immediately becoming an action embedded in the big game of the virtual market – a market that in turn becomes more and more game-theoretical in its ways of functioning.
   

   Alvaro Seica - 03.02.2015 - 15:53

7. E-CyberDigital Poetry: To Grasp or to Build a Genre Identity through a Term’s Choice?

   In recent years, the field of digital poetry had at least three major critical monographs
   discussing the genre and its state-of-the-art. Loss Pequeño Glazier (2002), Brian Kim
   Stefans (2003) and Christopher T. Funkhouser (2007) have not only introduced new
   critical perspectives, but have also discussed the genre’s problematic definition and its
   denominations’ variety: e-poetry, cyberpoetry and digital poetry.
   Considering Theo Lutz’s Stochastische Texte (1959) as the first work of
   programmable poetry, one should note the genre’s long history of practice in spite of
   its shorter history of critical writing. Therefore, the way authors have been coining
   and defining the genre itself claims for a theorization standpoint and helps shaping the
   field towards a specific path and perhaps a crystalized historical construction.
   Do the referenced terms position their authors in a similar flow of thought? By
   following a concept’s trajectory and the author’s choice, one must consider the fact
   that its crystallization will shape future critical writing. In this sense, it is important to
   

   Alvaro Seica - 04.02.2015 - 19:09

8. Story Generation

   In the field of artificial intelligence (AI) the automated generation of stories has been a subject of research for over fifty years. The underlying concept of "story" in story generation research is functional and does not imply any aesthetic notion. This is important because the evaluation of generated stories does not necessarily use the criterion of a readable and appealing text. Research on storytelling systems (computational systems capable of telling a story) initially arose as a part of the general trend in AI to build computational solutions that could undertake tasks that are easy for humans and difficult for machines. Some such efforts, such as computer vision and speech processing, have achieved success and given rise to commercial applications, whereas others, such as natural language understanding and story generation, still remain at the exploratory research stage.

   (Source: Author's introduction)

   Thor Baukhol Madsen - 05.02.2015 - 11:11

9. Immersion and Interactivity in Digital Fiction

   Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
   

   Daniela Côrtes Maduro - 05.02.2015 - 12:28

10. Algo-trading and the Digital Subject in Robert Harris’ 'The Fear Index'

    Algo-trading and the Digital Subject in Robert Harris’ 'The Fear Index'

    Alvaro Seica - 05.02.2015 - 12:36

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