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1. The PO.EX Digital Archive of Portuguese Experimental Literature: A Review

   PO.EX (http://po-ex.net) is a digital archive of Portuguese Experimental Literature that began in 2005. This literary database is coordinated by Rui Torres, at the University Fernando Pessoa, in Oporto, Portugal, and was funded by the Fundação para a Ciência e Tecnologia [Foundation for Science and Technology] (FCT) and the European Union, under two main research projects: “CD-ROM da PO.EX: Poesia Experimental Portuguesa, Cadernos e Catálogos” [The PO.EX CD-ROM: Portuguese Experimental Poetry, Notebooks and Catalogues] (2005-2008) and “PO.EX’70-80: Arquivo Digital da Literatura Experimental Portuguesa” [PO.EX’70-80: Digital Archive of Portuguese Experimental Literature] (2010-2013).

   (Source: Author's Abstract)

   Alvaro Seica - 19.03.2014 - 12:25

2. O PO.EX, Arquivo Digital da Literatura Experimental Portuguesa: Uma Recensão

   PO.EX (http://po-ex.net) is a digital archive of Portuguese Experimental Literature that began in 2005. This literary database is coordinated by Rui Torres, at the University Fernando Pessoa, in Oporto, Portugal, and was funded by the Fundação para a Ciência e Tecnologia [Foundation for Science and Technology] (FCT) and the European Union, under two main research projects: “CD-ROM da PO.EX: Poesia Experimental Portuguesa, Cadernos e Catálogos” [The PO.EX CD-ROM: Portuguese Experimental Poetry, Notebooks and Catalogues] (2005-2008) and “PO.EX’70-80: Arquivo Digital da Literatura Experimental Portuguesa” [PO.EX’70-80: Digital Archive of Portuguese Experimental Literature] (2010-2013).

   Alvaro Seica - 26.03.2014 - 15:00

3. Reading Writing Interfaces: From the Digital to the Bookbound

   In Reading Writing Interfaces, Lori Emerson examines how interfaces—from today’s multitouch devices to yesterday’s desktops, from typewriters to Emily Dickinson’s self-bound fascicle volumes—mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.

   Table of Contents:

   Introduction

   Chapter 1: Indistinguishable From Magic | Invisible Interfaces and Digital Literature as Demystifier

   Chapter 2: From the Philosophy of the Open to the Ideology of the User-Friendly

   Chapter 3: Typewriter Concrete Poetry and Activist Media Poetics

   Chapter 4: The Fascicle as Process and Product

   Chapter 5: Postscript | The Googlization of Literature

   Works Cited

   Jill Walker Rettberg - 09.05.2014 - 02:11

4. Um Feixe Luminoso: Uma Leitura da Colecção de Literatura Electrónica Portuguesa

   A Colecção de Literatura Electrónica Portuguesa, na base de dados ELMCIP, pretende abordar e recolher as obras criativas e teóricas mais relevantes produzidas por autores portugueses no campo da literatura electrónica, durante os últimos quarenta e cinco anos. A colecção agrega também autores, eventos, organizações, editoras, periódicos, publicações, conferências, performances, instalações e exposições que estejam relacionadas com o contexto português.

   Álvaro Seiça fez uma palestra no dia 25 de junho de 2014, pelas 15h00, na Sala Ferreira Lima (6º piso, Faculdade de Letras da Universidade de Coimbra), intitulada «Um Feixe Luminoso: Uma Leitura da Colecção de Literatura Electrónica Portuguesa». Nesta palestra foi apresentada a Colecção de Literatura Electrónica Portuguesa que integra a base de dados ELMCIP (Electronic Literature as a Model of Creativity and Innovation in Practice, projecto coordenado por Scott Rettberg). Esta iniciativa é uma organização do Programa de Doutoramento em Materialidades da Literatura (Programa Doutoral FCT), em colaboração com o Programa de Cultura Digital da Universidade de Bergen.

   Alvaro Seica - 16.09.2014 - 13:19

5. Finding No Object: A Traversal through Processes in Digital Poetry

   Although Mieke Bal’s “travelling concepts” (2002) framework is widely used, even if not always acknowledged, as a migration function within the humanities, arts and architecture, there is still a prevalence of researching a unique and unchangeable object. Thus, even if Bal calls for a critical object, which ought to be analyzed, meaning that a “theoretical object” entails different views on what a text or a work of art might signify, these approaches do not accurately perform when dealing with digital artworks. In fact, if one undertakes a critical position towards generative, time-based or distributed media artworks, one needs to adopt a reading and analytical perspective that disregards objects, but considers data, process(es), instantiations and manifestations. As Philippe Bootz et al. (2009) assert, our reception of digital literary works cannot comply with an objectual view, as the work/artifact is no longer a consistent and identifiable element, since it is constituted by several process(es) and variables, e.g.

   Alvaro Seica - 23.10.2014 - 12:00

6. Time-Lapse Reading as Critical Performance

   In moving texts, such as digital kinetic poetry, the reader-user might no longer control the duration of their reading, unlike the traditional and static nature of printed texts. The user deals with readable time versus executable time, the human time-line versus the machine time-line. By having an imposed and fixed number of milliseconds to perceive the text on the screen, the user might find themselves completing or imagining the unread text, following the dynamic forms with an imposed dynamic content. Yet, to understand the shifting reading patterns of digital poems, one has to consider another methods or tools that may complement traditional models. Therefore, performing a critical approach solely based in close reading methods might not accomplish a fully comprehensible reading of digital poetry. In this sense, following upon methods taken from other areas, e.g. time-lapse photography and R. Luke DuBois’s concept of “time-lapse phonography” (2011), I introduce the notion of time-lapse reading as a complementary layer to close reading.

   (Source: Author's Abstract)

   Alvaro Seica - 07.11.2014 - 19:51

7. Roundtable: Chercheur et artiste / artiste et chercheur, de l’art de jongler avec les casquettes

   A roundtable organized by Lucile Haute at the Galerie Rhinocéros et Cie in Paris on November 13, 2014, posing three questions to each author.

   Alvaro Seica - 14.11.2014 - 17:18

8. E-CyberDigital Poetry: To Grasp or to Build a Genre Identity through a Term’s Choice?

   In recent years, the field of digital poetry had at least three major critical monographs
   discussing the genre and its state-of-the-art. Loss Pequeño Glazier (2002), Brian Kim
   Stefans (2003) and Christopher T. Funkhouser (2007) have not only introduced new
   critical perspectives, but have also discussed the genre’s problematic definition and its
   denominations’ variety: e-poetry, cyberpoetry and digital poetry.
   Considering Theo Lutz’s Stochastische Texte (1959) as the first work of
   programmable poetry, one should note the genre’s long history of practice in spite of
   its shorter history of critical writing. Therefore, the way authors have been coining
   and defining the genre itself claims for a theorization standpoint and helps shaping the
   field towards a specific path and perhaps a crystalized historical construction.
   Do the referenced terms position their authors in a similar flow of thought? By
   following a concept’s trajectory and the author’s choice, one must consider the fact
   that its crystallization will shape future critical writing. In this sense, it is important to
   

   Alvaro Seica - 04.02.2015 - 19:09

9. Early Digital Art and Writing

   Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.

   (Source: Author's introduction)

   Thor Baukhol Madsen - 06.02.2015 - 12:30