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1. Kinetic Poetry

   Este documento constitui o relatório sobre unidade curricular para efeitos de Provas de Agregação na área de Línguas e Literaturas Modernas1, de acordo com o estipulado na alínea b) do artigo 5º do Decreto-Lei 230/2007, de 19 de Junho. O relatório ‘Poesia Cinética’2 encontra-se dividido em três partes: (a) reflexões preliminares de contextualização da investigação e do ensino da literatura electrónica [pp. 9- 23]; (b) descrição detalhada dos conteúdos do programa e da metodologia de ensino, incluindo planificação semestral, tópicos de aula e exercícios de avaliação [pp. 25-79]; (c) um ensaio final sobre Jim Andrews, um dos autores algorítmicos estudados cuja obra é particularmente relevante para o argumento deste seminário [pp. 80-103]. Este relatório inclui ainda em anexo o CD-ROM DigLitWeb: Digital Literature Web, um sítio web pedagógico que desenhei e actualizei entre 2005 e 2010 (http://www.ci.uc.pt/diglit/). A sua estrutura e conteúdo procuram integrar as minhas actividades de investigação e de ensino, tanto a nível graduado como pós-graduado.

   Patricia Tomaszek - 04.07.2011 - 00:25

2. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

3. Ars Electronica 99 (LifeScience)

   Ars Electronica 99 (LifeScience)

   Eric Dean Rasmussen - 06.07.2011 - 17:17

4. Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Narrative Subjects Meet Their Limits: John Barth's "Click" and the Remediation of Hypertext

   Eric Dean Rasmussen - 07.07.2011 - 16:37

5. Beyond the Screen (review)

   Beyond the Screen (review)

   Jörgen Schäfer - 08.07.2011 - 10:46

6. Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental

   Eric Dean Rasmussen - 08.07.2011 - 10:53

7. Dali Clocks: Time Dimensions of Hypermedia

   Stephanie Strickland investigates an epistemological shift in web-specific art and literature, from an understanding that is less about structure and more about resonance. (Source: ebr) Artists discussed include: Tom Brigham, Jim Rosenberg, Mary Anne Breeze (mez), Noah Wardrip-Fruin, Lisa Jevbratt, and Edardo Kac.

   Eric Dean Rasmussen - 08.07.2011 - 11:43

8. Curveship: An Interactive Fiction System for Interactive Narrating

   From the publication: Interactive fiction (often called “IF”) is a venerable thread of creative computing that includes Adventure, Zork, and the computer game The Hitchhiker’s Guide to the Galaxy as well as innovative recent work. These programs are usually known as “games,” appropriately, but they can also be rich forms of text-based computer simulation, dialog systems, and examples of computational literary art. Theorists of narrative have long distinguished between the level of underlying content or story (which can usefully be seen as corresponding to the simulated world in interactive fiction) and that of expression or discourse (corresponding to the textual exchange between computer and user). While IF development systems have offered a great deal of power and flexibility to author/programmers by providing a computational model of the fictional world, previous systems have not systematically distinguished between the telling and what is told.

   Patricia Tomaszek - 22.07.2011 - 18:44

9. Third Hand Plays: An Introduction to Electronic Literature

   The first in a series of columns about electronic literature and digital literary art written by Brian Kim Stefans for the SFMOMA's Open Space blog.  Here, Stefans explains the premise behind his column: each installment describes what he dubs one of the "simples" of digital literature, that is, "some element in the deep structure of the text/alogrithm interaction" that the author deploys to produce aesthetic effects. In digital literature, Stefans proposes, these formal elements are akin to poetic features, such as assonance, alliteration, and rhyme, that can be identified as a poem's basic components. Critical terminology provides readers and critics a tool for describing how a work of literature functions, and Stefans' "simples" are intended to enable readers to not only identify techniques used to produce digital literary art but also to better understand how authors deploy these poetic effects meaningfully. (Source: Eric Dean Rasmussen)

   Patricia Tomaszek - 24.07.2011 - 14:55

10. After the Book: Writing Literature/Writing Technology

    Originally distributed with (or completely on?) a set of floppy disks, this special issue of the journal Perforations includes creative and critical works by many pioneering authors and scholars of electronic literature.

    Jill Walker Rettberg - 27.07.2011 - 22:46

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