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1. J.R. Carpenter: Object-Oriented Interview by Andrea Zeffiro

   November 2013 marked twenty years since artist, writer, performer, and researcher J. R. Carpenter first began using the internet as a medium for the creation and dissemination of experimental texts. This interview examines the material, formal, and textual traces of a number of pre-web media – including the LED scrolling sign, the slide projector, and the photocopy machine – which continue to pervade Carpenter’s digital work today.

   J. R. Carpenter - 17.01.2014 - 12:58

2. Taroko Gorge: A Theory of Networked Paratext

   My talk will examine the paratextual play inspired by Nick Montfort's generative poem "Taroko Gorge," which has prompted more than two dozen adaptations and remixes of its source code.
   The poem's code is as much an object of fascination for its community of readers as the poem it outputs. What is the "paratext" in this setting? Is it the commented code directed at human readers? The two dozen adaptations? The "Taroko Gorge" meme authored by Talan Memmott? Or might it be the poetic output itself? One could think of the outputted poem as a dazzling book cover-like illustration of main story, the 131-line source code.
   

   Alvaro Seica - 29.08.2014 - 10:27

3. 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