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Formalisation d’un modèle fonctionnel de communication à l’aide des technologies numériques appliqué à la création poétique
This work develops a theoretical model of the communication which is established in e-poetry between an author and a reader by use of two computers. One is used to create the work and the other to read it. The files are transmitted with a CDROM.
We make first a diachronic study of the field. It shows that conceptions gradually evolve. The study of visual forms shows that the mind representation of the system made by the actors are important in this communication.
The model of linked text is purposed. The concept of text depends upon the global representation of the situation for each actor. This model is developed in cognitive and semiotic approaches. The notions of texte-à-voir, texte-écrit and texte-lu are introduced.
Scott Rettberg - 28.06.2013 - 17:02
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Digital Poesi. Æstetisk Analyse og det Mediales Rolle i Kunstværkers Kommunikation
ENGLISH SUMMARY Digital Poetry: Aesthetic analysis and the role ofmediality in the communication of artwork Digital poetry (language-based digital art) is a global, interdisciplinary movement consisting of poets, artists and programmers who study and develop opportunities for programmed writing. Digital poetry combines writing with animation, images and sound. There are moving letters, interaction and autogenerative programming. Some digital poems also consist of actual programming code. Digital poetry can be colourful, expressive, technologically advanced, organic, delicate and minimalistic. The thesis consists of analyses of selected examples of digital poetry and investigates, discusses and demonstrates how digital poetry can be analysed. This results in a wide range of theoretical issues concerning genre and intermediality, media philosophical questions regarding technologies of writing and issues related to programming, materiality, temporality and agency. The thesis is a methodological reflection on which concepts should be applied and what new set of questions should be asked in the analysis of digital poetry and contemporary digital art in a broader sense.
Patricia Tomaszek - 28.06.2013 - 17:21
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A Ciberliteratura: Criação Literária e Computador
A Ciberliteratura: Criação Literária e Computador
Alvaro Seica - 23.08.2013 - 15:11
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Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines
In Scripting Reading Motions, Manuel Portela explores the expressive use of book forms and programmable media in experimental works of both print and electronic literature and finds a self-conscious play with the dynamics of reading and writing. Portela examines a series of print and digital works by Johanna Drucker, Mark Z. Danielewski, Rui Torres, Jim Andrews, and others, for the insights they yield about the semiotic and interpretive actions through which readers produce meaning when interacting with codes. Analyzing these works as embodiments and simulations of the motions of reading, Portela pays particular attention to the ways in which awareness of eye movements and haptic interactions in both print and electronic media feeds back onto the material and semantic layers of the works. These feedbacks, he argues, sustain self-reflexive loops that link the body of the reader to the embodied work. Readers’ haptic actions and eye movements coinstantiate the object that they are reading.
Alvaro Seica - 27.08.2013 - 15:55
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The Rematerialization of Poetry: From the Bookbound to the Digital
My dissertation "The Rematerialization of Poetry: Space, Time and the Body from the Bookbound to the Digital" is a deep-reaching account of what digital poetry is, what it does; it presents the reader with a historically and theoretically-based model for reading digital poetry within a limited scope of twentieth and twenty-first century science, media theory, and American/Canadian poetry. In this much-needed account of digital poetry, I first draw from media theorists ranging from Vannevar Bush to George Landow and Mark Poster as well as contemporary critics of electronic literature (such as N. Katherine Hayles, Marjorie Perloff, and Jerome McGann) in order to broadly contextualize the genesis of digital poetry and its relationship to the larger field of electronic literature. I then explore, in a section titled "My Digital Dickinson," the methodological possibilities and limits of using our understanding of the digital to inform our readings of bookbound poetry and vice-versa.
Patricia Tomaszek - 18.09.2013 - 12:36
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De la croissante invisibilité des poésies numériques en ligne dans la zone française
Au milieu des années 90 le développement du web a suscité beaucoup d'espérance de la part des poètes expérimentaux, qu'ils y voient la possibilité d'une diffusion de leurs travaux ou qu'ils envisagent des formes créatives nouvelles tirant parti des spécificités du réseau; en 97-98 était publié un numéro spécial de la revue DOC(K)S consacré au web: "un notre web", complété par un CD contenant des oeuvres numériques trouvées en ligne. Il s'agit aujourd'hui de faire le point et sur les auteurs présents dans ce numéro, sur les sites qu'ils animaient alors, sur les transformations intervenues, et surtout sur l'enthousiasme utopique de ces années en se demandant quelle place, dans la zone française, occupent aujourd'hui les poésies numériques en ligne. Au final, l'enquête conduite, sur la base d'une recherche systématique, manifeste le peu de visibilité de ces travaux et tente d'en analyser les causes.
(Source: Author's abstract from ELO 2013)
Arngeir Enåsen - 14.10.2013 - 13:57
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Reading Writing Interfaces: From the Digital to the Bookbound
In Reading Writing Interfaces, Lori Emerson examines how interfaces—from today’s multitouch devices to yesterday’s desktops, from typewriters to Emily Dickinson’s self-bound fascicle volumes—mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.
Table of Contents:
Introduction
Chapter 1: Indistinguishable From Magic | Invisible Interfaces and Digital Literature as Demystifier
Chapter 2: From the Philosophy of the Open to the Ideology of the User-Friendly
Chapter 3: Typewriter Concrete Poetry and Activist Media Poetics
Chapter 4: The Fascicle as Process and Product
Chapter 5: Postscript | The Googlization of Literature
Works Cited
Jill Walker Rettberg - 09.05.2014 - 02:11
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alire 5
Le numéro 5 d'alire fut d' abord publié par le groupe L.A.I.R.E. en Décembre 1991 sur minidisquette. Il fut ensuite porté en 1994 par Mots-Voir sur une nouvelle édition minidisquette. En 1995, Mots-Voir a porté ce numéro sur l'anthologie CD-ROM "Salon de Lecture Électronique" avec d'autres numéror d'alire.
Jonathan Baillehache - 10.09.2014 - 19:29
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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
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A Literatura Cibernética 1
Pedro Barbosa’s pioneering work introduced computer-generated literature (CGL) in Portugal in 1975. Having worked with Abraham A. Moles at the University of Strasbourg, Barbosa published three theoretical-practical volumes of his programming experiences with the FORTRAN and BASIC languages. These volumes deal with combinatorics and randomness, developing algorithms able to ally computing and literary production, bearing in mind a perspective of computational text theory. (Source: Author's text)
Alvaro Seica - 08.04.2015 - 19:41
