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1. «Electrònicolírica» de Herberto Helder e Combinatória PO.EX

   Herberto Helder morreu. Helder é um dos poetas portugueses mais consistentes e inovadores da segunda metade do século vinte. Ainda que a sua obra mais recente tenha sido marcada por um trabalho de reformulação da linguagem que podemos considerar como um experimentalismo tradicionalista, cuja poiesis se empenha e se alicerça num vocabulário idiossincrático, não podemos esquecer a trajectória ecléctica de Helder. Tendo sido influenciado, entre outros, pelo surrealismo e pelo experimentalismo vanguardista internacional, Herberto Helder foi, primeiro com António Aragão (1964), e depois com Aragão e E. M. de Melo e Castro (1966), editor de dois importantes cadernos antológicos, Poesia Experimental 1e Poesia Experimental 2. Os cadernos desencadearam a maior parte dos principais caminhos do experimentalismo literário e artístico dos anos 1960, a partir dos quais o movimento da PO.EX (POesia.EXperimental) emergiu.

   Alvaro Seica - 08.04.2015 - 20:04

2. Interview with Alan Bigelow

   Alan Bigelow tells in this interview how he started publishing online works of digital poetry around the year 1999 and where his inspirations for his work come from. Furthermore he explains why he chose to change from working with Flash to working with HTML5 and in which way this decision subsequently changed his way of writing. Then he considers the transition from printed books to digital literature from the point of view of the reader also in regards of the aesthetics of digital born literature. In the end he gives his opinion about the status of electronic literature in the academic field.

   Daniele Giampà - 10.04.2015 - 10:11

3. Unprinted

   An interview with Anne Karhio on printed and digital contemporary Irish poetry, place and new media technologies.

   Anne Karhio - 23.04.2015 - 11:08

4. Interactive Digital Narrative

   The book is concerned with narrative in digital media that changes according to user input—Interactive Digital Narrative (IDN). It provides a broad overview of current issues and future directions in this multi-disciplinary field that includes humanities-based and computational perspectives. It assembles the voices of leading researchers and practitioners like Janet Murray, Marie-Laure Ryan, Scott Rettberg and Martin Rieser. In three sections, it covers history, theoretical perspectives and varieties of practice including narrative game design, with a special focus on changes in the power relationship between audience and author enabled by interactivity. After discussing the historical development of diverse forms, the book presents theoretical standpoints including a semiotic perspective, a proposal for a specific theoretical framework and an inquiry into the role of artificial intelligence. Finally, it analyses varieties of current practice from digital poetry to location-based applications, artistic experiments and expanded remakes of older narrative game titles.

   Scott Rettberg - 26.04.2015 - 12:19

5. The American Hypertext Novel, and Whatever Became of It?

   The chapter provides a brief history of experiments in the hypertext novel in America during the 1990s. The 1990 Eastgate publication of Michael Joyce’s Afternoon, A Story earned hypertext fiction a place within institutionalised literary culture. Robert Coover’s 1992 essay "The End of Books" announced hypertext fiction as a challenge to traditional conceptions such as narrative linearity, the sense of closure, and the “desire for coherence.” While some theorists, such as George Landow, praised hypertext for instantiating poststructuralist theory, others such as Sven Birkerts, in The Gutenberg Elegies, regarded it with strong concern. The publication of more hypertext fictions such as Stuart Moulthrop’s Victory Garden (1991) and Shelley Jackson’s Patchwork Girl (1995) resulted in a small, dedicated interest community. However, no paradigm-shifting rise in interest took place.

   Scott Rettberg - 26.04.2015 - 16:27

6. Posthyperfiction: Practices in Digital Textuality

   By the turn of the millennium hypertext fiction was no longer the predominant form of digital writing produced by authors of electronic literature. In recent years, electronic poetry is more often produced than hypertext fiction, and rich multimedia largely predominates over text. Yet some notable exceptions, such as Judd Morrissey’s database narrative The Last Performance (2007), and Paul La Farge’s Luminous Airplanes (2011) are continuing to push the hypertext novel in some new directions. If hypertext per se is no longer predominant, many aspects of hypertext fiction, such as trigger actions that extend narrative texts and texts that integrate elements of spatial navigation, are increasingly integrated into newer forms such as locative narrative and virtual reality narratives.

   Scott Rettberg - 27.04.2015 - 09:51

7. Toward. Some. Air.

   Remarks on Poetics of Mad Affect, Militancy, Feminism, Demotic Rhythms, Emptying, Intervention, Reluctance, Indigeneity, Immediacy, Lyric Conceptualism, Commons, Pastoral Margins, Desire, Ambivalence, Disability, The Digital, and Other Practices Edited by Amy De’Ath and Fred Wah Toward. Some. Air. is a landmark collection of profiles of contemporary poets, statements, essays, conversations about contemporary poetry and poetic practice, and a few exemplary poems selected by up-and-coming poet and scholar Amy De’Ath and Governor General’s Award-winning, former Parliamentary Poet Laureate Fred Wah. The over 40 contributors to this anthology are renowned poets and academics from Canada, the United States, and the United Kingdom. Toward. Some. Air. is an open invitation to consider the various contours and meanings of Anglophone poetic practice, as a way of interpreting the world around us. An invaluable critical resource with unprecedented scope, this is a book that speaks to the future of contemporary poetics and writing poetry.

   J. R. Carpenter - 10.05.2015 - 11:17

8. Becoming Digital

   A circular interview on "Becoming Digital" conducted by J. R. Carpenter, with responses from Brian Stefans, Stuart Moulthrop, Darren Wershler, David Jhave Johnston, Lori Emerson, Nick Montfort, and Stephanie Strickland in an anthology on experimental poetics edited by Amy De'Ath and Fred Wah, out now from Banff Centre Press.

   J. R. Carpenter - 10.05.2015 - 11:55

9. A Handmade Web

   I made my first web-based art work in 1995. It’s still online, it still works. The internet has changed a lot since then, but the DIY aesthetics and practices of that era have by no means disappeared. In today’s highly commercialised web of proprietary applications, Content Management Systems, WYSIWYG editors, and digital publishers, it becomes an increasingly radical act to hand-code and self-publish experimental web art and writing projects. Drawing upon Olia Lialina’s essay “A Vernacular Web” (2010), this paper makes correlations between the early ‘amateur’ web and today’s maker and open source movements. Examples of the persistence of Web 1.0 are presented, from the massive Ubu Web site which its founder boasts, ‘is still hand-coded in html 1.0 in bbedit, from templates made in 1996,’ to the tiny anti-social network TILDE.CLUB, where small experimental websites are hosted on one ‘totally standard unix computer.’ In addition to the slow writing of the web through hand coding, the practice of appropriating existing source code is discussed in relation to Nick Montfort’s Taroko Gorge (2008), which has been remixed dozens of times.

   J. R. Carpenter - 10.05.2015 - 12:21

10. Green-Screeners: Locating the Literary History of Word Processing

    “I suppose that my fiction will be word-processed by association, though I myself will not become a green-screener,” John Barth told the Paris Review in 1985. But just a few years later he did, not only switching to a word processor but exploring the machine as a subject in subsequent fiction. This lecture, drawn from my forthcoming book Track Changes: A Literary History of Word Processing, interweaves a narrative of word processing’s introduction to the literary world–we will see that Barth’s story, both his abrupt turn-around and his fear of guilt by association is typical–with a consideration of practical problems in doing research at the intersection of literary and technological history, especially the changing nature of the archive as primary source material becomes itself “born-digital.” Along the way we will take a look at Stephen King’s Wang, John Updike’s trash, and the 200-pound writing machine that produced the first word processed novel in English.

    (Source: ELD 2015)

    Alvaro Seica - 15.05.2015 - 13:50

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