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1. Etudes de linguistique appliquée

   Etudes de linguistique appliquée

   Alexandra Saemmer - 03.07.2011 - 16:12

2. Digital Literature—A Question of Style

   For some time, critics tried to circumscribe the “novelty” of digital literature in rather generalist terms, either taking into account its relation to literary avant-gardes or focalizing on its technical features; these theoretical approaches were often blind to contents. Now that digital literature seems more and more aesthetically convincing, the time has come to define its stylistic features with more precision. In order to circumscribe the poetics of interaction, some authors tested the validity of the classical figures of style. It is, however, probably dangerous to use classical rhetorical terms intended to characterize textual phenomena, whereas the signs of digital text almost constantly refer to different semiotic systems (including the visual one). In the following pages of this article, I will sometimes continue to borrow from conventional taxonomies to describe the stylistic devices of digital literature, and I will try in other cases to invent a new terminology in order to avoid foolhardy analogies.

   Alexandra Saemmer - 03.07.2011 - 16:37

3. Digital Literature—In Search of a Discipline ?

   Academic research on digital literature was initiated many years ago; researchers and teachers like Jean-Pierre Balpe and Jean Clément at University Paris 8 have provided major contributions to the understanding of electronic poetry, hyperfiction and text generation. They have also managed to integrate digital literature into university courses in Information and Communication Sciences. But most of the Departments of Literature have not supported these educational experiments. Whereas a certain number of specific literary methods undoubtedly prove suitable for the analysis of poetry and narrative texts in electronic media (semiotics, gender and cultural studies, biographical or even thematical approaches), literary studies in France are quite reluctant to deal with digital literature. The ambiguous status of digital works, between literature, visual and performing arts, does not facilitate their integration into one specific discipline either. Thanks to its many specificities—including hypermedia—digital literature involves many creative and interpretative abilities, from film analysis to programming, from rhetoric to sound engineering.

   Alexandra Saemmer - 03.07.2011 - 16:43

4. Kinetic Poetry

   Este documento constitui o relatório sobre unidade curricular para efeitos de Provas de Agregação na área de Línguas e Literaturas Modernas1, de acordo com o estipulado na alínea b) do artigo 5º do Decreto-Lei 230/2007, de 19 de Junho. O relatório ‘Poesia Cinética’2 encontra-se dividido em três partes: (a) reflexões preliminares de contextualização da investigação e do ensino da literatura electrónica [pp. 9- 23]; (b) descrição detalhada dos conteúdos do programa e da metodologia de ensino, incluindo planificação semestral, tópicos de aula e exercícios de avaliação [pp. 25-79]; (c) um ensaio final sobre Jim Andrews, um dos autores algorítmicos estudados cuja obra é particularmente relevante para o argumento deste seminário [pp. 80-103]. Este relatório inclui ainda em anexo o CD-ROM DigLitWeb: Digital Literature Web, um sítio web pedagógico que desenhei e actualizei entre 2005 e 2010 (http://www.ci.uc.pt/diglit/). A sua estrutura e conteúdo procuram integrar as minhas actividades de investigação e de ensino, tanto a nível graduado como pós-graduado.

   Patricia Tomaszek - 04.07.2011 - 00:25

5. W. J. T. Mitchell

   W. J. T. Mitchell is Professor of English and Art History at the University of Chicago. He is editor of the interdisciplinary journal, Critical Inquiry, a quarterly devoted to critical theory in the arts and human sciences. A scholar and theorist of media, visual art, and literature, Mitchell is associated with the emergent fields of visual culture and iconology (the study of images across the media). He is known especially for his work on the relations of visual and verbal representations in the context of social and political issues. Under his editorship, Critical Inquiry has published special issues on public art, psychoanalysis, pluralism, feminism, the sociology of literature, canons, race and identity, narrative, the politics of interpretation, postcolonial theory, and many other topics. He has been the recipient of numerous awards including the Guggenheim Fellowship and the Morey Prize in art history given by the College Art Association of America. In 2003, he received the University of Chicago's prestigious Faculty Award for Excellence in Graduate Teaching.

   Eric Dean Rasmussen - 04.07.2011 - 09:05

6. Jan van Looy

   Jan van Looy

   Eric Dean Rasmussen - 05.07.2011 - 13:16

7. Playable Media and Textual Instruments

   The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.

   Jörgen Schäfer - 05.07.2011 - 13:35

8. Rafael Lozano-Hemmer

   Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989 he received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada.

   Electronic artist, develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks. Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are “antimonuments for alien agency”.

   His work has been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico City (2008), the 50th Anniversary of the Guggenheim Museum in New York (2009) and the Winter Olympics in Vancouver (2010).

   Eric Dean Rasmussen - 05.07.2011 - 14:50

9. Ars Electronica 99 (LifeScience)

   Ars Electronica 99 (LifeScience)

   Eric Dean Rasmussen - 06.07.2011 - 17:17

10. Jean-François Lyotard

    Jean-François Lyotard

    Eric Dean Rasmussen - 06.07.2011 - 17:23

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