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1. //**Code_Up

   //**Code_UP investigates digital images particularities and interrogates the role of the code in the meaning construction.

   The research is based on a conceptual dialogue with "Blow up" (1966), by Michelangelo Antonioni, one of the deepest discussions ever made on the nature and the place of the image in contemporary culture, permanence and transitory, and on how we deal with the visible and the invisible phenomena.

   The film tells the story of a photographer (Thomas, interpreted by David Hemmings) who may registered, by chance, a crime in a park. On developing his pictures he is startled to find what appears to be a man with a gun in the bushes and, in a later shot, a body.

   Rushing back to the park in the middle of the night he finds the body, but on his return to the studio all his pictures have disappeared. When he returns to the park in the morning the body, too, has gone and Antonioni seems to say: It all might never have happened�

   His investigation about the crime is made through successive magnifications of the photographic registers he shot accidentally.

   Scott Rettberg - 16.06.2012 - 22:42

2. konkret digital: Interview with Johannes Auer about Concrete Poetry and Net Literature

   Interview with Johannes Auer to be published in Concrete Poetry: An International Perspective. Edited by Claus Clüver and Marina Corrêa. (forthcoming)

   Patricia Tomaszek - 19.07.2012 - 13:59

3. Transdução: Processos de Transferência na Literatura e Arte Digitais

   Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)

   Alvaro Seica - 15.08.2013 - 15:59

4. Arte Digital: Pixel, Algoritmo, Código, Programação e Dados

   In this essay [Digital Art: Pixel, Algorithm, Code, Programming, Data], we reached a theoretical framework that could withstand a hyperdisciplinary analysis and encompass one of the characteristics that both electronic literature and digital art share: the transfer and transformation processes. In order to recognize these processes we used the concept of transduction to perform a theoretical migration capable of supporting these aspects: the transducer function.
   

   Alvaro Seica - 26.09.2014 - 11:23

5. Give Me Your Light

   One day in 2008 in Malaysia, by chance, I videotaped two starkly ordinary events: a dying kitten and a chained monkey. Give me Your Light explores the archetypal capacity of these creatures. The archetypes are death and enslavement. The dying abandoned kitten in a parking lot stands-in for the fatally ill, homeless runaways and abandoned children. The chained monkey suggests slaves, prisoners, abductees, captives, convicts, detainees and internees. Give me Your Light is about the limits of empathy and ubiquitous complicity. The display of Give me Your Light is not a linear video, it is a set of video-clips, sounds, music and words reassembled every two minutes into a new sequence by an algorithm. Events repeat but never in the same order. Clips appear in both monochrome and colour, with music and without, with sound and silent. Contextual structure and affective content collide. (Source: http://glia.ca/2011/BNL/)

   Daniela Ørvik - 05.02.2015 - 15:13