Search

The search found 75 results in 0.012 seconds.

Search results

1. 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

2. 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

3. 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

4. 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

5. A Solipsist Can’t Tell the Time : Changes in the Digital Subject from ‘Vocational Time’ to ‘Timeless Time’

   To what extent are contemporary information and communication technologies (ICTs) implicated in an experience of time that can be characterised as ‘solipsistic’? Metaphysical solipsism, as Bertrand Russell put it, is ‘…the hypothesis that the world consists of myself and my thoughts and feelings and sensations, and that everything else is mere fancy’ (1959: 22). To what extent, then, are ICTs implicated in promoting the experience of time accompanying that world?

   The essay is structured around three key concepts. Part one focuses on Edmund Husserl’s phenomenological concepts of ‘vocational time’ and ‘epochē’. Part two focuses on Manuel Castells’ sociological concept of ‘timeless time’. In part three, I conclude by arguing that ICTs do indeed promote a ‘solipsistic’ experience of time. Solipsism, in the strict metaphysical sense, is an absurd hypothesis; paradoxically, however, it can still be believed, practised, and, I argue, encouraged by certain artifacts and practices within our shared world. The argument is that we should be aware of this paradox in our interactions with ICTs.

   (Source: Author's Abstract)

   Alvaro Seica - 05.02.2015 - 12:37

6. Caring for Electronic Literature

   Notes on the seminar given by Dene Grigar at the University of Coimbra:

   Words were once untraceable. Before the invention of writing, they would disappear as soon as they were shared. Writing turned words into discernible shapes. Print, in turn, allowed a precise control over the surface of inscription and, by extension, over language. Books are often related to fixity and durability and they are seen as stable and self-contained objects built to last. However, Dene Grigar believes that all texts, regardless of the format being used, are prone to obsolescence or deterioration. Like words in oral tradition, texts can fall into oblivion if they are not preserved or remembered.

   (Source: Author's Introduction)

   Daniela Côrtes Maduro - 05.02.2015 - 13:57

7. Touch as Technê : Pulse Project

   Touch as Technê : Pulse Project

   Alvaro Seica - 05.02.2015 - 15:12

8. Techné, Corps et Temporalités: Culture de l’écran et Fiction Contemporaine

   Techné, Corps et Temporalités: Culture de l’écran et Fiction Contemporaine

   Alvaro Seica - 05.02.2015 - 15:17

9. Early Digital Art and Writing

   Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.

   (Source: Author's introduction)

   Thor Baukhol Madsen - 06.02.2015 - 12:30

10. Ink After Print

    The interactive literary installation Ink (Accidentally, the Screen Turns to Ink, created by the authors in a collaboration with Roskilde Library, CAVI and Peter-Clement Woetmann) is a unique experimental public display created in 2012 for the library space and exhibited at more than ten Danish libraries, at conferences, festivals and events. Ink is unique in being a large, public, social and performative digital literary installation designed to give library audiences an experience of digital literature through an affective, ergodic proces. Ink has been presented at several conferences, including the ELO 2013 conference in Paris.

    Thor Baukhol Madsen - 13.02.2015 - 10:11

Pages