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1. Voice of the poet programmer Jörg Piringer

   Voice of the poet programmer Jörg Piringer

   J. R. Carpenter - 25.11.2011 - 13:30

2. Pentameters Toward the Dissolution of Certain Vectorialist Relations

   John Cayley reads John Cayley reads and discusses his poem PENTAMETERS TOWARD THE DISSOLUTION OF CERTAIN VECTORALIST RELATIONS (which examines the effect of Google on language and poetics) with discursive and conversational interrupts from Jhave.

   Recorded on John's Providence, Rhode Island home as part of i2.literalart.net/ on 12 Feb 2012.

   (Source: David (Jhave) Johnston's vimeo account.)

   Eric Dean Rasmussen - 12.03.2012 - 16:39

3. Grande Enquête

   This webpage has been realised for the festival e-poetry 2007 in collaboration with Delphine Riss. During the festival, the participants were invited to vote at the following question:

   Selon vous, les travaux présentés lors du festival e-poetry 2007 (performances, installations, oeuvres) sont ils des oeuvres de poésie numérique?

   According to you, are the works presented at the e-poetry 2007 festival (performances, installations, piece of works) digital art works of poetry?

   Participants were also invited to add precisions in creating their own buttons where their comments were written on them. Other users could then add weights to these buttons by clicking on them.

   The goal of this project was to materialise the difficulty of defining what is digital art poetry and how it is received. While presenting the problem of the definition, the task was too not be closed up in only one: The different requests, potentially infinite, allowed to visualise a state of the reception of the digital poetry, skewed by our intervention.

   (Source: http://cecilebucher.net/e-poetry/)

   Marthin Frugaard - 11.04.2013 - 11:23

4. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

   The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

   J. R. Carpenter - 22.11.2014 - 21:44

5. The Digital Diasthima: Time-Lapse Reading as Critical and Creative 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.

   Alvaro Seica - 03.09.2015 - 20:26

6. Jason Nelson Digital Magic Show and Poetic Interfaces

   It is overly simplistic to state that my digital poems come entirely from building/discovering interfaces. Any artist’s creative practice is a merging/melding mix of fluid events and inspirations. But with all my digital poems there is one commonality, the emphasis on interface. Rarely do I even reuse interfaces, and when I do it is only as one section of a larger work. This continual drive to create new ways to rethink the structure, organization and interactive functionality of my digital poems comes from a variety of internal influences. Most importantly is how these interfaces are not just vessels for content, they are poems in themselves. In the same way digital poetry might be best defined by the experience, rather than a description. Or similar to a digital poet and their works being described by the events and stories surrounding the creation and building process, an interface is the life, the body, and a poetic construction in itself. And through the artist performance I will explore/perform numerous of my interfaces, discussing/reading from them, eluding to how they were made, their inspirations and my thoughts on how they could be reused by other poets.

   Hannah Ackermans - 30.11.2015 - 08:35

7. O Experimentalismo como Invenção, Transgressão e Metamorfose: A PO.EX Revisitada Através de Po-ex.net

   O experimentalismo português iniciou-se na década de 1960, com um propósito comum de conferir ao acto poético valores artísticos, políticos e sociológicos assentes numa ruptura de vanguarda. O presente ensaio situa a intervenção experimental como invenção, transgressão e metamorfose, visto que perpassa as obras dos autores de "Poesia Experimental" e, mais tarde, de um novo conjunto de autores que exploraram a poesia visual, sonora, digital e a performance. Através do arquivo Po-ex.net, que documenta e dissemina o seu estudo, traçam-se dois itinerários, revisitando algumas das obras com carácter interventivo e transformativo, desde os anos 1960 até à actualidade.

   (Fonte: Resumo dos Autores)

   Alvaro Seica - 07.11.2016 - 17:36

8. ⌰ [Total Runout]

   Ian Hatcher’s online and kinetic poem ⌰ [Total Runout] (2015) critiques corporate and governmental black boxing, at the level of its code, text, visual output and live sound performance. The poem is part of the series Drone Pilot, and it is presented in different versions: a Web-based work, a sound piece and a performance. It remixes appropriated text from a WikiLeaked manual by the UK Ministry of Defense, essays on artificial intelligence, and Hatcher’s own text. The overall versions of the work, understood as variable events, boldly problematize communication and cognitive processes in networks—whether they are implemented in computer systems by secret agencies or corporations. Hatcher’s critique to black boxes entails recreating issues of security, control and surveillance, as controlled systems are increasingly paving the way for less privacy and less knowledge about their inner workings. As a result, the poem questions the essence of privacy, redaction, and systemic violence, when access is a privileged asset of agents with security clearances or those with a deep knowledge of programming.

   (Source: Álvaro Seiça)

   Alvaro Seica - 22.03.2017 - 18:45

9. P(r)o(bl)emas @ telePoesis > Práticas e Processos na Programação de Poesia

   A talk-performance delivered at the University of Coimbra on Torres's praxis. The talk was scripted with a constraint with the letter P. Bruno Ministro assisted by changing 'slides.'

   Alvaro Seica - 31.03.2017 - 11:31

10. Mora amor

    El poema es una experiencia interactiva. Puedes jugar con las palabras y los sonidos españoles para hacer y crear tu propia construcción audiovisual.

    Puedes saber más sobre ella y su trabajo en http://www.uvm.edu/~tescaja/home.htm

    Tina Escaja - 27.08.2018 - 00:57