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Toward an Ontology of the Field of Digital Poetry
author-submitted abstract:
This essay proposes a model of an ontology based on the ontological model by Spinoza commented by Deleuze. It aims at establishing properties of a tool for indexing documents related to the field of digital poetry. It is build in three stages.
In a first stage, we build a normalised graphical representation of the Spinoza’s model. We show that this philosophical model can easily be schematised in a combination between a relation/entity model and an set representation with internal graphical lows. These graphics are normalised because each part of them has a unique and constant significant. So, such graphics can be used to make graphical treatment of information in relationship with databases.
Figure 1 : schema of an individual
Eric Dean Rasmussen - 27.01.2011 - 15:29
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Intervista con Caterina Davinio: “eLiterature, ePoetry e correlazioni”
Intervista con Caterina Davinio: “eLiterature, ePoetry e correlazioni”
Fabio De Vivo - 22.10.2011 - 11:20
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A poesia (im)possível do século XXI
A poesia (im)possível do século XXI
Luciana Gattass - 10.10.2012 - 16:49
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POIESIS, p0es1s, p0es1e – e adiante: Uma retroperspectiva
Being fascinated by the dynamics and the potential which medial technologies offer for the artistic investigation of materiality and the individual and social use of language, the poetological concept of the show formulated a key idea which is still reflected in the subtitle of the recent “poiesis”-exhibition: the difference between program and pixel, or between a perception proposition and the ‘underlying’ code. In his foreword to the small catalogue from 1992, André Vallias describes this crucial distinction from the code perspective: “Data dissolve the borders between bodies, surfaces, sounds, words, dots, tones, letters and numbers”.1 Accordingly, the show’s title “p0es1e” exemplifies the difference by intertwining the sign systems of perceivable writing and the digital code normally used to program in an ‘unobservable’ way what can be perceived. Observing the unobservable in language, is surely one of the core characteristics of experimental poetry. The conceptual fusion of different dimensions and uses of languages is still a prominent procedure of poetic reflexivity. Dick Higgins had formulated his concept of poetic intermedia along these lines, in 1965.
Luciana Gattass - 09.11.2012 - 10:07
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<POEMA> entre pixel e programa </>
A maior parte dos textos que permeiam a vida do homem contemporâneo passa quase que invariavelmente desapercebida ao seu olhar. São textos que se destinam à leitura por parte de máquinas. Textos que registram informação: do minúsculo “elemento de imagem” , que compõe os mosaicos que brilham na tela de monitores e painéis eletrônicos, ao conjunto
complexo de instruções e procedimentos que nos permitem gerar e manipular informação . Esta exposição se pergunta: o que faz o poeta (“aquele-que-faz”, do grego POIEIN = fazer, produzir) num contexto que torna cada vez mais porosas as fronteiras que separam letras de números, imagens de sons, etceteras de etceteras?Luciana Gattass - 12.11.2012 - 14:00
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<POEM> between pixel and program </>
A maior parte dos textos que permeiam a vida do homem contemporâneo passa quase que invariavelmente desapercebida ao seu olhar. São textos que se destinam à leitura por parte de máquinas. Textos que registram informação: do minúsculo “elemento de imagem” , que compõe os mosaicos que brilham na tela de monitores e painéis eletrônicos, ao conjunto
complexo de instruções e procedimentos que nos permitem gerar e manipular informação . Esta exposição se pergunta: o que faz o poeta (“aquele-que-faz”, do grego POIEIN = fazer, produzir) num contexto que torna cada vez mais porosas as fronteiras que separam letras de números, imagens de sons, etceteras de etceteras?Luciana Gattass - 12.11.2012 - 14:05
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Respuesta de lectoras de literatura electrónica española
En el seminario de literatura electrónica en lengua española del 22 de abril de 2014, Maya Zalbidea Paniagua, utilizando la metodología de la respuesta del lector invitó a las asistentes a redactar una crítica de las obras que había explicado y mostrado ella previamente en el aula. Las asistentes debían interpretar la simbología de las obras.
Maya Zalbidea - 18.05.2014 - 17:42
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The Electronic Literature, How, When, Where
The term Electronic Literature (EL) is already obsolete, just as the term contemporary art. The obsolescence of words depends on the changes that the content of their meanings are undergoing. These contents change in the light of the technical-logical progress. Their own form changes giving ultimately rise to new signs and signifiers. New concepts generate new interpretations.
The change of technological processes introduces new types of communication and of social relations. These changes weaken the rules of linguistics. The content and the meaning of words change, as well as their own signs that are used to define the EL and to describe what comes from it as an end: politics, social philosophy, aesthetics, ethics, business, and business ethics. The works that are produced through the EL undergo changes and have an outreach that involve a dialogue on an augmented art synchronically developed on a augmented reality perceived through the use of new technologies.
Hannah Ackermans - 14.11.2015 - 15:23
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#ELRFEAT: "La poesia nell'epoca del newmedia" (2001)
The second featured interview with Eduardo Kac. This interview was originally published on http://contentodesign.org/cont/autori/kac/interv_kac.htm
Daniele Giampà - 05.04.2018 - 20:54
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#ELRFEAT: Language’s Uncertainty Principle: An Interview with Eduardo Kac (1999)
Re-published interview with Eduardo Kac, a Brazilian contemporary artist and professor of art. In this interview, Kac talks about his concepts of art, poetry and multimedia which are at the base of his projects since the early 1980s.
Daniele Giampà - 05.04.2018 - 21:05
