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Voice of the poet programmer Jörg Piringer
Voice of the poet programmer Jörg Piringer
J. R. Carpenter - 25.11.2011 - 13:30
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Poesia luso-brasileira contemporânea: do verbo ao pixel
This article intends to reflect upon the place of poetry in the teaching of literature and the formation of the reader, considering the recurrent metaphors and images in the interfaces of the
discourse of the hypermedia, among the languages provided by the Technology of Information and Communication (TIC) in contemporary society. It aims to demonstrate the possible experiences of reading and aesthetic appreciation which offers to the user/reader for the exercise of creativity and autonomy in the construction of collective intelligence. In order to do so, it focuses on the production of the Luso-Brazilian literature in hypermedia with emphasis on the remarkable presence of the Portuguese experimental poetry in the construction of digital poetry and the Brazilian cyberliterature in present time.(Source: Author's Abstract)
Rui Torres - 04.12.2011 - 17:52
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Recent Experiments in Holopoetry and Computer Holopoetry
Holographic poetry is better understood in the context of the multiple directions that visual poetry took in the twentieth century, and in order to make clear some theoretical issues of holopoetry which will be discussed ahead I shall proceed to summarize some of the highlights in the development of this literary genre.
Luciana Gattass - 27.11.2012 - 16:27
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Hypertextual Forms and Functioning of Their Units in Russian Literature of the 10s of XXth century – 10s of the XXIst century
The theoretical background of the paper lies in postmodernist writings of Jacques Lacan, Jean-Luc Lyotard, Giles Deleuze, Michel Foucault, Jacques Derrida and Roland Barthes as well as in hypertextual studies carried out in the 1990's and 2000's by Jay David Bolter, Stuart Moulthrop, George Landow, Espen Aarseth, and Janet Murray. Four basic approaches to the hypertextal studies are surveyed: poststructuralist, describing but not naming the subject (R.Barthes, J.Derrida, J.Deleuze); utopian, dating back to the 1990 and claiming that hyperfiction could replace all the linear and paper communication (J.Bolter, M.Bernstein); narratological, tracing the nature of hyperfiction in the history of literature and narration (J.Murray), and ludological (E. Aarseth) speculating on hypertext’s correlation with game. Building on all of those, the paper suggests syntagmatic approach. The research is aimed to build a meaningful opposition between non-hierarchial hypertextual language and the paradigm of the natural language. The hypertext is defined as a text consisting of combinatorial permutable units that require an active reader.
Natalia Fedorova - 17.01.2013 - 15:03
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Russian E-Lit 1.0 - 3.0
Russian E-Lit 1.0 - 3.0
Natalia Fedorova - 29.01.2013 - 02:46
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Mining the Arteroids Development Folder
In September 2008 Jim Andrews shared with me the “Arteroids Development Folder:” a collection of drafts, versions, source files, and other materials that document the work that led to the publication of his “poetic shoot 'em up" Arteroids (http://www.vispo.com/arteroids/index.htm).
Audun Andreassen - 03.04.2013 - 09:54
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Code Poetry
Sampled from the various languages of computer programming and the WWW, ted warnell uses fragmented alphabets, numbers, and miscellaneous other characters to achieve his particular brand of code literature, and the poems he creates -- a selection of which he shares below -- read like contemporary remixes of Vorticism.1
Like the Vorticists' myriad forms of visual, literary, and typographical audacity -- what "Manifesto - II" in BLAST I refers to as "insidious and volcanic chaos"2 (38) -- warnell's code poems concern themselves with dynamism, the modern world, and the machine age. Instead of automobiles, factories, and the tools of symmetrical warfare, though, warnell's "(vor)texts" focus on twenty-first century mechanisms: CPUs and the internet (img. 16), contemporary "digitality,"3 and the other information-distributing systems in our midst.Rebecca Lundal - 15.11.2013 - 20:11
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Panorama de la literatura electrónica hispánica
La relación entre la ciberliteratura y la literatura tradicional es actualmente muy compleja. A pesar del número creciente de obras digitales y del aumento de uso de Internet, la ciberliteratura tiene dificultad para atraer la atención de los lectores, de los editores y de los críticos. El público general, aunque sea usuario activo de la red, parece no interesarse por esta nueva forma narrativa que utiliza el hipertexto, los recursos multimedia y la interactividad. Ante esta situación nos preguntamos: ¿Hasta qué punto los géneros nacidos digitales heredan a la imprenta o son modalidades híbridas (transmedia, crossmedia, multimedia, mash-ups, pastiches) de los géneros triunfantes en el siglo XX (fotografía, fonógrafo, radio, cine, televisión)? Y en fin, la pregunta fundamental: ¿Puede hablarse de literatura cuando la mayoría de las obras nacidas digitales han hecho de las palabras (LITER) un elemento residual, siendo sustituidas por la NET y sus imágenes, sonidos, videos, animaciones, arte digital, diseño gráfico, etc.? En suma, ¿es ya la LiterNETura, LITERatura?
Maya Zalbidea - 18.02.2014 - 23:38
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Digital Letterisms
According to Vilem Flusser, writing in the sense of placing letters or other marks one after another has little or no future (Flusser, 3). On the contrary, American conceptualists state that textual universe of the web is a victory of the verbal, liberating it, as earlier photography did for painting, from the task of representation and thus allowing it to obtain the artistic function (Goldsmith, 14). Indeed, in the world of digital communication, writing potentially acquires visual, audial, plastic, kinetic and computational features blurring the border between traditional writing and art practices. The work of many artists illustrates a trasition from concrete poetry to digital animation: John Maeda, Ottar Omstad, Jorg Piringer, Caroline Bergvall, Alexander Gornon, and many others. However, the reverse is also possible: transition from digital to postdigital – painted ASCII art (Ivan Khimin). So the letters are not only not dead, but the opportunities they acquire in the digital realm tie back to the central aspects of art history.
Hannah Ackermans - 16.11.2015 - 11:13
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Bass Resonance
1999 e-literature award winner John Cayley writes about Saul Bass of classic film title fame. A precursor to language arts innovators Jenny Holzer, Richard Kostelanetz, and Cayley himself, Bass may now be recognized as a poet in his own 'write,' important for a new generation of designwriters creating "graphic bodies of language," moving words and signifying images, in digital environments.
(Source: Author)
Ana Castello - 15.10.2018 - 22:40
