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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 <POEMA>ENTRE PIXEL E PROGRAMA</>
The show "POIESIS. BETWEEN_PIXEL_AND_PORGRAM was presented at the Oi Futuro Art Centre of Rio de Janeiro, Oct 23 - Dec 03, 2007. Artists: Adriana Calcanhotto, Arnaldo Antunes, Augusto de Campos, Aya Karpinska, Betty Leirner & Florian Kutzli, Eduardo Scala, Florian Cramer, Joao Bandeira, JODI, Jörg Piringer, Johannes Auer, Lenora de Barros, León Ferrari & Ricardo Pons, Luis Andrade, Marcelo Tápia, Omar Khouri, Ricardo Aleixo, Ronaldo Kiel & Anita Cheng, Simon Biggs, Uli Winters, Walter Silveira, Wlademir Dias Pino, Young-Hae-Chang-Heavy-Industries, Zebra Poetry Film Festival.
(Source: p0es1s)
Luciana Gattass - 15.10.2012 - 16:27
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A Crise da Poesia no Brasil, na França, na Europa e em outras latitudes
Objetivos: Analisar as transformaçãoes da poesia no Brasil, na Europa e em outras partes do mundo neste início de século. Refletir sobre a evolução das novas formas de expressão poética informatizadas.
Luciana Gattass - 08.11.2012 - 15:13
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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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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
