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1. Lector in machina

   Lector in machina

   Sandra Hurtado - 06.12.2011 - 11:58

2. La revolución biotecnológica-comunicacional. Nuevas formas literarias, nuevas miradas y viejos memes

   La revolución biotecnológica-comunicacional. Nuevas formas literarias, nuevas miradas y viejos memes

   Sandra Hurtado - 06.12.2011 - 11:59

3. Ramon Dachs, un cas d'ergodicitat intersticial / Ramon Dachs, a case of interstitial ergodicity

   Ramon Dachs, un cas d'ergodicitat intersticial / Ramon Dachs, a case of interstitial ergodicity

   Sandra Hurtado - 06.12.2011 - 12:03

4. E-teaching and Literary Studies. Towards a New Culture of Teaching

   E-teaching and Literary Studies. Towards a New Culture of Teaching

   Sandra Hurtado - 06.12.2011 - 12:06

5. Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World

   Handholding, Remixing, and the Instant Replay: New Narratives in a Postnarrative World

   Scott Rettberg - 03.02.2012 - 15:34

6. Digital and Analog Texts

   Digital and Analog Texts

   Scott Rettberg - 03.02.2012 - 15:57

7. Getting in on the Ground Floor: A Hazy History of How and Why We Banded Together

   "Getting in on the Ground Floor: A Hazy History of How and Why We Banded Together" was commissioned for xxxboîte, an artifact produced in celebration of the first ten years of Studio XX, a Feminist art centre for technological exploration, creation, and critique, founded in Montreal in 1996. 

   J. R. Carpenter - 29.07.2012 - 13:13

8. Reflections on the Perception of Generative and Interactive Hypermedia Works

   Reflections on the Perception of Generative and Interactive Hypermedia Works

   Patricia Tomaszek - 23.08.2012 - 13:36

9. The Problem of Form: Transitoire Observable, a Laboratory for Emergent Programmed Art

   I will present some conceptions of programmed art focused on the problem of form. I will not explain here the different approaches but only open the question in the perspective of the procedural model. I will start from the basic common point of view of the collective Transitoire Observable and, after an overview of some aspects of the procedural model, I will pose the question of form as a specific management in the programming of arbitrary aesthetic constraints that are posed by the author in his management of the situation of communication created by the work whatever the surface aesthetics is on screen. In this sense, we will speak of “programmed forms” as forms in programming and not as forms of the programmed multimedia event.

   Source: author's abstract in book publication

   Kristine Turøy - 28.08.2012 - 11:38

10. Code, Cod, Ode: Poetic Language & Programming

    Mutation or modulation of words manifest orthographic relations between variants but also sometimes suggest more elusive relations. Much importance can be seen in the specificity of language, especially considering the sum of variations of a single word in different languages. The word itself is a solid object at the center of such a set of permutations. The meaning of a sum of such variants can be likened to an array in programming. An array object can be greater than the sum of its parts, a concept that ties into Cubism as well as to poetry where languages mix. Other array poetry suggests geometric structure; this is poetry that creates meaning from empty space as much as from its solid textual areas. This is similar to the way that architecture creates meaning from empty spaces, as seen notably in uses of the arch. The structural strength of empty space can also be seen in a number of postmodern poems, where such space is integral to their expressiveness. These poems also use array concepts to inform the poem. It is useful to look at examples of code in my own work, which uses arrays and empty space as solid material in strings.

    Stig Andreassen - 28.08.2012 - 18:13

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