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1. Screaming Screen and Binary Idealism

   Screaming Screen and Binary Idealism

   Johannes Auer - 05.11.2012 - 18:26

2. Über Literatur und Digitalcode / Digital Code and Literary Text

   "This paper is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer data as an extension and transgression of textuality (as manifest in such notions as "hypertext'', "hyperfiction'', "hyper-/ multimedia'') towards paying attention to the very codedness - i.e. textuality - of digital systems themselves."

   Original text by Florian Cramer, retrieved from https://www.netzliteratur.net/cramer/digital_code_and_literary_text.html

    

   Johannes Auer - 05.11.2012 - 22:23

3. Portuguese Experimental Poetry: Revisited and Recreated

   Portuguese Experimental Poetry, claiming to be an avant-garde movement, arose in Lisbon in the mid 60’s. It got its name from the title of a magazine, Cadernos de Poesia Experimental, which became the herald of the movement. Two issues were published, the first in 1964 and the second in 1966, organized by António Aragão and Herberto Hélder. The first issue was presented as anthological, since it included texts not only of Portuguese poets and musicians but also Brazilian, French, Italian and English artists. It also had a section which included poets of several epochs and tendencies, such as Luis de Camões or Quirinus Kuhlmann, representing respectively the mannerist and baroque aesthetics of European poetry.

   (Source: Author's Introduction)

   Alvaro Seica - 02.12.2013 - 15:14

4. Hypertexte et hypermodernité

   Hypertexte et hypermodernité

   Luc Dall'Armellina - 10.10.2014 - 15:14

5. Jouer / Déjouer : une relation critique pour le net-art

   Avec quelle insouciance Jacques Prévert contait sa collection d’objets du monde « Une pierre, deux maisons, trois ruines, quatre fossoyeurs, un jardin, des fleurs, un raton laveur », son « Inventaire ».

   Cette liste les faisait tenir dans sa main comme s’il fut naturel qu’ils soient déposés là, dans l’attente du rôle que la parole de Prévert auteur, devait leur faire jouer. Avec quel amusement teinté de crainte Michel Foucault, dans sa préface Des mots et des choses évoque le classement des objets du monde selon Jorge Luis Borges. « Les animaux se divisent en : a) appartenant à l’empereur, b) embaumés, c) apprivoisés, d) cochons de lait, e) sirènes, f) fabuleux »

   Comment donc – à notre tour - dire et décrire des types d’objets, de productions, de processus, et même d’environnements matriciels relationnels que sont devenus les dispositifs de net-art depuis leur apparition, ceci sans les trahir, les dédire ou les réduire ? Le net-art ou web-art est un art techno-sensible qui relève sans doute plus de l’éphémère, au même titre que les arts de l’improvisation ou de la performance..."

   (Source: Author's Description)

   Luc Dall'Armellina - 10.10.2014 - 15:21

6. The Digital Diasthima: Time-Lapse Reading Digital Poetry

   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 - 22:02

7. Introduction (What (in the World) Was Postmodernism)

   Introduction (What (in the World) Was Postmodernism)

   Yvanne Michéle Louise Kerignard - 17.09.2019 - 14:41

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