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  1. Vers de nouvelles formes en poésie numérique programmée?

    In English:

    I intend to illustrate some programmed forms among the most representative one of the
    digital poetry of today. They use two important features of the digital medium: dual performative
    signs and a semiotic gap between the author and the reader.

    Bootz Philippe. "About some programmed forms in e-poetry". Conference paper. EPC, SUNY Buffalo, 2006.

    In French:

    Cet article réalise une synthèse de mes travaux récents et propose, pour l’analyse des formes programmées, de nouveaux critères complémentaires de ceux proposés par ailleurs. La notion de forme programmée se dégage peu à peu des genres apparus en poésie numérique dans les années quatre-vingts Nous discutons les concepts à l’œuvre dans ces formes en insistant sur ceux de technotexte et d’intermédia. Ayant dégagé des axes analytiques performatif, lectoriel et instrumental, nous proposons et classifions quelques formes programmées.

    Patricia Tomaszek - 28.10.2010 - 16:52

  2. Toward a Semiotic Critique of Computer Poetry

    Toward a Semiotic Critique of Computer Poetry

    Patricia Tomaszek - 13.01.2011 - 15:45

  3. Some stylistic devices on media interface

    author-submitted abstract: In the past, the “innovations” of electronic poetry often have been circumscribed in rather general terms; today, it seems important to characterize its stylistic, semantic and pragmatic devices with more precision. The traditional “figures of speech” have sometimes been considered as capable of achieving this aim. By denominations like “animated metaphor”, I have tried for example in my book Matières textuelles sur support numérique to describe “phenomena of meaning” in electronic literature, when animation effects enter in meaningful relations with the contents of words or letters. It is however undoubtedly dangerous to use a terminology which have been forged to characterize textual phenomena, whereas the signs of electronic texts are often based on various semiotic systems. In a recent article for the review Protée (which I also presented during the e-poetry seminar in Paris), while describing what I would call “figures of speech on media surface”, I sometimes continue to use traditional taxonomies; in order to avoid too dangerous analogies, I try in other cases to invent a new terminology.

    Eric Dean Rasmussen - 27.01.2011 - 16:57

  4. Scripting Writing and Reading in Jim Andrews's Digital Poems

    The purpose of this paper is to demonstrate the theoretical relevance of kinetic poetry for studying the interaction between language, digital media, and signifying processes. Several writers have been using digital poetry to investigate meaning production as a function of formal operations upon linguistic, computational, and other cultural codes. Interactive kinaesthesia, the main algorithmic trope examined here, enacts the temporality of writing and the temporality of reading in medium-specific forms and genres that call attention to the way their machine and human processing happens. The cinematic enactment of time in the combined motions of computer-executed code and human-activated display will be seen in digital poems by Jim Andrews. His scripts are analysed as models for specific semiotic and interpretive processes. Computer performance and reader performance become co-dependent and intertwined as an entangled field. (Source: Author's abstract at MIT Tech TV)

    Scott Rettberg - 07.03.2011 - 23:01

  5. Aesthetics of Surface, Ephemeral and Re-Enchantment in Digital Literature: How Authors and Readers Deal with the Lability of the Electronic Device

    Whenever the program of a work, created by an artist, is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, the digital device may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, readers do not know what they should consider as part of the artist’s intentionality, and what they should ascribe to the unexpected changes made by the reading device of their personal computer. Critics who are in keeping with a hermeneutic approach may ascribe certain processes, actually caused by the machine, to the artist’s creativity. What is more, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the “digital” artist is given four options when dealing with the lability of the electronic device, which will be described in this article by close readings of The Dreamlife of letters by Brian Kim Stefans, Revenances by Gregory Chatonsky and La Série des U by Philippe Bootz.

    Alexandra Saemmer - 03.07.2011 - 16:03

  6. De la confirmation à la subversion: Les figures d’animation face aux conventions du discours numérique

    Dans le domaine du discours numérique, le terme « figure » s’est rapidement imposé pour circonscrire certains phénomènes de sens émergeant du couplage entre le mouvement, la manipulation, et le texte ou l’image. Un transfert direct des figures linguistiques dans le domaine du discours numérique semble néanmoins problématique à cause de la nature pluricode de ces couplages. Dans cet article, nous nous concentrons sur le couplage texte / image – mouvement. Notre but est de compléter les approches existantes par une analyse sémio-rhétorique identifiant avec précision les procédés par lesquels les « figures d’animation » soulignent, confirment ou subvertissent les conventions du discours numérique.

    Alexandra Saemmer - 03.07.2011 - 16:23

  7. Digital Literature—A Question of Style

    For some time, critics tried to circumscribe the “novelty” of digital literature in rather generalist terms, either taking into account its relation to literary avant-gardes or focalizing on its technical features; these theoretical approaches were often blind to contents. Now that digital literature seems more and more aesthetically convincing, the time has come to define its stylistic features with more precision. In order to circumscribe the poetics of interaction, some authors tested the validity of the classical figures of style. It is, however, probably dangerous to use classical rhetorical terms intended to characterize textual phenomena, whereas the signs of digital text almost constantly refer to different semiotic systems (including the visual one). In the following pages of this article, I will sometimes continue to borrow from conventional taxonomies to describe the stylistic devices of digital literature, and I will try in other cases to invent a new terminology in order to avoid foolhardy analogies.

    Alexandra Saemmer - 03.07.2011 - 16:37

  8. Dissonance in Multi-Semiotic Landscapes in the Work Of Donna Leishman

    I come to the field of digital literature from the position of a visual artist. My formative training in illustration grounded an interest in sequential art and literary themes. My work draws on literary subject matters, contains chronological cause and effect, and strongly features protagonists. I am a thematic recycler similar to that described by H. Wozniak (2008) a re-framer of often folkloric motifs - with an aim to renew, revitalises, or debunk, the pre-existing content. Visuality, the auteur interface, and folk narratives are fundamental features in the communication of my aesthetic. How then these aspects function and their importance in terms creating a meta dissonance will be detailed and discussed in the paper, with reference to how such an approach sits within the context of interactive literary art.

    Patricia Tomaszek - 12.08.2011 - 15:59

  9. Reflections on the iconicity of digital texts

    Reflections on the iconicity of digital texts

    Eric Dean Rasmussen - 29.08.2011 - 13:19

  10. New Media Textuality and Semiotics

    New Media Textuality and Semiotics

    Eric Dean Rasmussen - 30.08.2011 - 12:32

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