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1. The Frontiers between Digital Literature and Net.art

   My aim is to show how the frontiers between the various disciplinary spheres are disappearing in the digital world. Therefore, to start with, the basic aspects of what is known as digital art are set out and are compared with the concepts of Roland Barthes on the post-modern text. In this way a relationship is established between the discourses on Net.art and digital creation on the Net and theoretical postulates on hypertext and Net.literature. Next the results of this comparative reflection are applied to a visual experience: letting a series of online works speak, grouped together in a particular classification, in order to see whether or not the theoretical model constructed is valid. Finally, I pose questions about this experience by highlighting the implications of the construction of new contexts in real time in the sphere of literary and artistic creation.

   (Source: Author's abstract)

   Alvaro Seica - 22.08.2013 - 11:34

2. Unusual Positions: Embodied Interaction with Symbolic Spaces

   A discussion of poetic installation artwork with physical or embodied interfaces.

   Jill Walker Rettberg - 27.08.2013 - 15:05

3. A Hacker Manifesto

   A double is haunting the world--the double of abstraction, the virtual reality of information, programming or poetry, math or music, curves or colorings upon which the fortunes of states and armies, companies and communities now depend. The bold aim of this book is to make manifest the origins, purpose, and interests of the emerging class responsible for making this new world--for producing the new concepts, new perceptions, and new sensations out of the stuff of raw data.

   A Hacker Manifesto deftly defines the fraught territory between the ever more strident demands by drug and media companies for protection of their patents and copyrights and the pervasive popular culture of file sharing and pirating. This vexed ground, the realm of so-called "intellectual property," gives rise to a whole new kind of class conflict, one that pits the creators of information--the hacker class of researchers and authors, artists and biologists, chemists and musicians, philosophers and programmers--against a possessing class who would monopolize what the hacker produces.

   J. R. Carpenter - 01.10.2013 - 14:38

4. Literatura digital: el paradigma hipertextual

   This book introduces and defines the new field of digital literature, answering to the question of the introduction of hypertext if it has suposed a reconfiguration of the literary paradigm in all its areas: theoretical, creative and educational. The theory, ideology and politics of hypertext are examined from a view of a theory of the hypertextual links, which proposes an original typology that is used as a tool for the analysis of literary digital texts (Source: Aurea Library) (Translated by Maya Zalbidea Paniagua).

   Maya Zalbidea - 07.08.2014 - 21:21

5. Literatura y cibercultura

   There are not few questions and crucial problems that the theoretical and comparative reflection should face trying to keep certain relevance in the areas of humanities and social sciences in the globalization era: What type of social subject is conforming this new communicative context? What new forms of literary textualities are the digital media spaces conceiving?

   Maya Zalbidea - 18.08.2014 - 20:10

6. alire 12

   alire 12

   Jonathan Baillehache - 10.09.2014 - 20:15

7. Digital Poetry and Collaborative 'Wreadings' of Literary Texts

   Digital Poetry and Collaborative 'Wreadings' of Literary Texts

   Alvaro Seica - 05.05.2015 - 14:45

8. Overboard: An Example of Ambient Time-Based Poetics in Digital Art

   overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.

   (Source: Author's Abstract)

   Alvaro Seica - 06.05.2015 - 22:01

9. Cybertextuality

   Cybertexts are the pairs of utterance-message and feedback-response that pass from speaker-writer to listener-reader, and back, through a channel awash with noise. Cybertextuality is a broad theory of communication that draws on the cybernetics of Norbert Wiener (1894-1964) to describe how we manage these dual message-feedback cybertexts into being and that helps explain the publishing, the transmission, and the reception of all speech and text. Recursiveness, complexity, and homeostasis are three principles of cybertextuality. Because we are cognitively blind to how we create most utterances (language belongs to procedural memory, which can be recalled only by enacting it), we unselfconsciously model even our own language acts (not just ones by other people) simply in order to recognize and revise them. We observe or receive our own language acts before anyone else does. Our feedback is to represent those acts meaningfully. Mental modelling, as a feedback mechanism, is recursive. Our every utterance or output serves as input to another (possibly silent) uttering. Messaging-feedback is also complex.

   Alvaro Seica - 11.03.2016 - 15:10

10. Rhythm Science

    "Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about." -- Rhythm Science The conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science -- the creation of art from the flow of patterns in sound and culture, "the changing same." Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.

    Hannah Ackermans - 05.04.2016 - 15:21

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