Search

The search found 4 results in 0.009 seconds.

Search results

1. Cybertext Yearbook 2010

   In this volume we wil continue to expand the Ergodic History theme started in the Yearbook 2006, with five articles dealing with the Polish literary history. In addition we have articles on various cybertextual themes.

   (Source: Cybertext Yearbook Database).

   Eric Dean Rasmussen - 07.04.2011 - 11:24

2. Dichtung Digital 40

   This edition reflects upon the need of techniques to approach the ongoing upheavals taking place in today's technology-driven production of (literary) art. The contributions assembled here all discuss ways of reading cultural objects created with digital media. The objects of interest are: a computer game (Soderman), a performance of a work that houses and visualizes its literary artifacts on a website - a huge database of texts by different authors (Rettberg), default settings and electronic poetics in an age of technological determinism (Heckman), literary artifacts in between book and programmable media (Vincler), story-telling in the Gulf (Lenze), and signs in a culture of mashups (Navas). In a time when cultural objects in digital culture reconfigure the reception of their addressees, it is important to develop not only a proper understanding of the impact of these ruptures on literary communication but also an interpretation of the presented moves into the scope of scholarly discussion. Such an engagement calls for what Roberto Simanowski proposes in his contribution: "digital hermeneutics."

   Patricia Tomaszek - 06.05.2011 - 18:42

3. Hyperrhiz 07: New Media Subversions

   Hyperrhiz 07: New Media Subversions

   Helen Burgess - 20.06.2012 - 20:01

4. Punkto 0

   The coordinates are deceptive! Doesn’t matter the position of the point, but the force that it produces, the space that it opens in the landscape of the real. This issue zero aims to contribute to a non-cartesian idea of point. Thinking its meaning from four anti-geometrical hypotheses. The point as a beginning (a space opening); the point as force and disturb (maybe creative); the point as network (points that aggregate other points), but most of all, the point as something that takes place, that supervenes in the unquiet landscape of the real, a singularity.

   The contributions presented here, depart from those coordinates and destroy them:

   // They reflect on the creative nature that the point represents/identifies in the architectonic/artistic production landscape: Álvaro Seiça Neves, Pedro Bismarck.

   // They identify strategies of thought/construction that evolve the connective and communicative singularity of the point: Pedro Oliveria, André Sier,

   // They understand the role of the critic as (re)production and (re)cognition of creative points: André Tavares, Bernardo Amaral.

   Alvaro Seica - 26.09.2014 - 13:51