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1. Finding No Object: A Traversal through Processes in Digital Poetry

   Although Mieke Bal’s “travelling concepts” (2002) framework is widely used, even if not always acknowledged, as a migration function within the humanities, arts and architecture, there is still a prevalence of researching a unique and unchangeable object. Thus, even if Bal calls for a critical object, which ought to be analyzed, meaning that a “theoretical object” entails different views on what a text or a work of art might signify, these approaches do not accurately perform when dealing with digital artworks. In fact, if one undertakes a critical position towards generative, time-based or distributed media artworks, one needs to adopt a reading and analytical perspective that disregards objects, but considers data, process(es), instantiations and manifestations. As Philippe Bootz et al. (2009) assert, our reception of digital literary works cannot comply with an objectual view, as the work/artifact is no longer a consistent and identifiable element, since it is constituted by several process(es) and variables, e.g.

   Alvaro Seica - 23.10.2014 - 12:00

2. Time-Lapse Reading as Critical Performance

   In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R. Luke DuBois’s concept of “time-lapse phonography” (2011), I introduce the notion of time-lapse reading as a complementary layer to close reading.

   (Source: Author's Abstract)

   Alvaro Seica - 07.11.2014 - 19:51

3. Electronic Visualization Laboratory (EVL)

   The Electronic Visualization Laboratory (EVL) at the University of Illinois at Chicago is an interdisciplinary research laboratory specializing in the design and development of high-resolution scientific visualization and virtual-reality display systems, collaboration software, and advanced networking infrastructure.

   (Source: http://www.evl.uic.edu/funding)

   Alvaro Seica - 11.11.2014 - 19:46

4. Intervista a Carlo Cinato

   In this interview, Carlo Cinato, author of the hypertext novel L’uomo senza cappello e la donna con le scarpe grigie (The man without a hat and the woman with grey shoes) and curator of the blog Parolata, explains how he started getting interested in electronic literature and how he conceived his novel. Through the study of hypertextual and non sequencial books in printed form he discovered a new way of writing which was adaptable to the technical possibilities of the web and the ebooks. According to Cinato there are analogies between literary works of the print tradition and the digital tradition, but in particular the latter are characterised by the possibility of making a leap inside the text. The hypertextual structure alters the role of the reader, the materiality of the text, the way of reading and the way to write for an author. Moreover Cinato sees the writing of the novel as an experiment. It was an occasion to write by using one of the seven hypertext links he has pinpointed. In the end he explains in which way the hypertextual structure changes the way of reading and how it can be installed also in ebooks.

   (Source: Interviewer's abstract)

   Daniele Giampà - 12.11.2014 - 19:35

5. Labex Arts-H2H

   The Laboratory of Excellence in Arts and Human Mediations is part of the “Investments for the future” program since 2011. As part of this program, its members conduct research following three main lines: situations, technologies, hybridization.

   (Source: http://www.labex-arts-h2h.fr/en/presentation.html)

   Alvaro Seica - 13.11.2014 - 23:24

6. EnsAD

   The École nationale supérieure des Arts Décoratifs was founded in 1766 and occupies a distinguished place in the history of creation, decorative arts, and design in France.

   It was officially opened in 1767 by letter patent of King Louis XV. Its goal was to develop arts-related professions and thereby to increase the quality of industrial products. In 1823, it became the École royale de dessin et de mathématiques en faveur des arts mécaniques (the Royal school of drawing and mathematics to promote mechanical arts). Over time, its original goal became more precise and its ambitions better established.

   (Source: http://www.ensad.fr/en/school/history)

   Alvaro Seica - 14.11.2014 - 17:07

7. Roundtable: Chercheur et artiste / artiste et chercheur, de l’art de jongler avec les casquettes

   A roundtable organized by Lucile Haute at the Galerie Rhinocéros et Cie in Paris on November 13, 2014, posing three questions to each author.

   Alvaro Seica - 14.11.2014 - 17:18

8. A Topographical Approach to Re-Reading Print Books About Islands in Digital Literary Spaces

   This paper interrogates the ‘topic’ of islands displaced from print books into digital literary spaces through a discussion of a web-based work of digital literature ...and by islands I mean paragraphs (Carpenter 2013) http://luckysoap.com/andbyislands/ In this work a reader is cast adrift in a sea of white space veined blue by a background image of graph paper. Whereas horizontally lined loose leaf or foolscap offers a guide for linear hand writing, horizontally and vertically lined graph paper offers a guide for locating positions, or intersections, along orthogonal axes such as latitude and longitude, and time and distance. In this graphic space the horizon extends far beyond the bounds of the browser window, to the north, south, east and west. Navigating this space (with track pad, touch screen, mouse, or arrow keys) reveals that this sea is dotted with islands… and by islands I mean computer-generated paragraphs.

   J. R. Carpenter - 22.11.2014 - 10:54

9. Hypertext Revisited

   This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.

   J. R. Carpenter - 05.01.2015 - 15:33

10. Anne Sofia Karhio

    Postdoctoral researcher, holder of the ELEVATE Irish Research Council International Career Development Fellowship, co-funded by Marie Curie Actions. In 2014-2016, she is based in the University of Bergen, Norway, where she is member of the Bergen Electronic Literature Research Group. She is a graduate of the University of Helsinki and the National University of Ireland, Galway.

    The current research project "Virtual Landscapes? New Media Technologies and the Poetics of Place" in recent Irish poetry focuses on the impact of new media technologies on literary representations of landscape in Irish poetic culture. The project covers poetry in both print and digital formats and also examines the relationship of poetry to visual and audiovisual arts, music and other forms of artistic production.

    Anne Karhio - 22.01.2015 - 14:36

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