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1. “It’s Not That, It’s Not That, It’s Not That”: Reading Digital Poetry

   "I’m attracted to the openness of interpretation and creation in digital poetry.  With such digital poems as Annie Abrahams “Being Human” and Maria Mencia’s “Birds Singing Other Birds Songs” it’s now commonplace to declare that we cannot say for sure whether these poems are poems, whether the poets are poets.  We cannot even say who is poet and who is machine, who is reader and who is writer let alone what the poem means. We certainly cannot say how to judge these poems, where they fit in relation to literary studies.  I should also say, though, that I dread this openness it at the same time as I’m attracted to it--this struggle to overcome an attachment to sure-footedness, to turn away from the safety of a backward-looking study of what’s been sanctioned as history, and emerge into new modes of relation."
   

   Source: cited from the introduction to the presentation
   

   Patricia Tomaszek - 03.02.2012 - 16:54

2. From Instrumental Texts to Textual Instruments

   From Instrumental Texts to Textual Instruments

   Patricia Tomaszek - 09.10.2012 - 13:27

3. Poesia Eletrônica no Brasil: Alguns Exemplos

   Este artigo é um breve estudo sobre a poesia eletrônica no Brasil, sob enfoque histórico e num percurso a partir do uso das tecnologias do século XX e XXI (rádio, cinema, vídeo, computador, internet, web) que vem produzindo uma poesia que reúne palavra, imágem (estática e/ou animada) e som nos meios eletrônico-digitais (videopoesia, holopoesia, poesia eletrônica) usando a interface, a interatividade, a hipertextualidade e a hipermídia.

   (Source: Author's Abstract)

   Luciana Gattass - 08.11.2012 - 15:15

4. 'This is Not a Game': Immersive Aesthetics and Collective Play

   'This is Not a Game': Immersive Aesthetics and Collective Play

   Jill Walker Rettberg - 12.06.2013 - 15:15

5. What is Hypertext?

   The most fundamental possible question that can be posed at a conference on hypertext, but one that is nonetheless difficult to answer, is: what is hypertext? Our answers to this question are not mere matters of definition, but define our community and the coherence of our message to others. We live in an age in which hypertext as a technology has become pervasive, and yet research interest in hypertext as such seems to be waning. How can this be explained? By looking into how we answer the question of what hypertext is, we may move toward an explanation of this trend.

   Jill Walker Rettberg - 02.07.2013 - 14:51

6. Face It, Tiger, You Just Hit the Jackpot: Reading and Playing Cadre’s Varicella

   ABSTRACT: We consider a specific character, Princess Charlotte, in the 1999 interactive fiction work Varicella by Adam Cadre. To appreciate and solve this work, the interactor must both interpret the texts that result (as a literary reader does) and also operate the cybertextual machine of the program, acting as a game player and trying to understand the system of Varicella’s simulated world. We offer a close reading focusing on Charlotte, examining the functions she performs in the potential narratives and in the game. Through this example, we find that in interactive fiction — and we believe in other new media forms with similar goals — works must succeed as literature and as game at once to be effective. We argue that a fruitful critical perspective must consider both of these aspects in a way that goes beyond simple dichotomies or hierarchies.

   Jill Walker Rettberg - 02.07.2013 - 23:06

7. Drugs, Machines & Friendships: Cybertext, Collaboration, and the Beatles

   That spark of interaction that happens during a successful and inspired collaboration is as important as it is elusive. Said spark involves friends having fun together, and may be beyond the grasp of traditional academic language. Chemistry is an apt metaphor, and while it is unreasonable to expect a theoretical chemical formula to reproduce the web of motivations, sensibilities, and techniques that underlie a collaborative work of art, some strands can be identified. I am particularly concerned with the role of Producer, as well as certain types of feedback between machines and artists that shape the artists' intentions.

   Scott Rettberg - 05.07.2013 - 11:39

8. E-Poetry: Time and Language Changes

   E-Poetry: Time and Language Changes

   Scott Rettberg - 10.07.2013 - 14:38