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1. From Oral Poetry to Tridimensional Poetry

   Memory defines human existence both individually and collectively: it is necessary for the evolution of the person and society. The loss of memory leads to the physical and intellectual death of identity. In order to avoid and exorcise existential oblivion, mankind has developed systems to pass on memory and preserve it. One of the oldest of these is poetry that, thanks to its rhythm and rhyme, makes the precise memorizing of a text easier. Thus it effectively communicates the deeds of heroes as well as the prayers, ideals and sentiments that characterize human beings and their culture. Society, thanks also to the heritage of knowledge that has been passed down, continues to evolve and change rapidly: the new technologies transform art, modifying the codes of language and above all the inclusion and typology of the data that constitutes the collective memory. In the era of motion pictures poetry loses some of its evocative effect and its function for transmission. The visual memory is predominant because the brain assimilates information without making the effort of concentrating and decoding input, for example from the sound to the word or from the sign to the word.

   Patricia Tomaszek - 12.01.2011 - 16:47

2. Video Ergo Sum: Video as Symbolic Form

   From cinema to TV, from PC to iPhone, from videogames to the displays disseminated across the urban space, today everything is video. It form a whirl of images flowing in a single visual stream, an unstoppable and fluid visual continuum. Therefore, by explicitly hinting at Erwin Panofsky’s essay of 1927, in this text I try to understand if it is possible to develop a discourse on the situation of contemporary visual culture that echoes the one proposed by the German art historian. The following arguments try to prove that it is indeed possible by referring to the relations currently binding art, aesthetics and the new media, and in particular to the series of interdisciplinary studies developed by North-American cultural studies.

   Patricia Tomaszek - 12.01.2011 - 16:50

3. New Media ArtPoetry: A Reflection on Practice

   New Media ArtPoetry: A Reflection on Practice

   Patricia Tomaszek - 12.01.2011 - 16:52

4. Art, Activism and Web. Notes and Hypothesis for a Historical Overview

   Art, Activism and Web. Notes and Hypothesis for a Historical Overview

   Patricia Tomaszek - 12.01.2011 - 16:53

5. A Short History of Electronic Poetry

   “Una Piccola Storia della Poesia Elettronica” presents a brief history of digital poetry, from the perspective of the Electronic Poetry Center (EPC), Buffalo, and the international E-Poetry Festivals of digital literature, art, and performance (E-Poetry). The paper engages the discipline from various perspectives, considering its relation to historic contextualizing movements and institutional mechanisms. Typifying the E-Poetry festivals, it is argued, are its exuberant origins: (1) the U.S. small press movements of the later twentieth century; (2) the activities and philosophies of the Electronic Poetry Center; (3) its self-definition as more broadly-conceived than that of hypertext; (4) the pre-existing literary ground of Language Poetry practices; (5) the vibrancy of the as-then-constituted Poetics Program at Buffalo, and; (6) a "symposium of the whole", the continued emerging importance of enthnopoetic localizations to an eventual realization of contemporary poetics.

   Patricia Tomaszek - 12.01.2011 - 16:57

6. From Textual Random Synthesis to Hypermedia - The Genesis of a Multimedia Electronic Work: ALLETSATOR/ROTASTELLA

   From Textual Random Synthesis to Hypermedia - The Genesis of a Multimedia Electronic Work: ALLETSATOR/ROTASTELLA

   Patricia Tomaszek - 12.01.2011 - 16:58

7. eLiterature: Literature in the Digital Era. Definition, Concept and Status

   In questo contributo si analizza il concetto di eLiterature e il suo statuto digitale. Si considera quindi il rapporto tra letteratura ed eLiterature e si presentano le caratteristiche peculiari di quest’ultima. Attraversando i concetti di digital born, paper-under-glass, ibridità, mutagenabilità, ergodicità, agency e testualità digitale si offre infine una definizione di letteratura elettronica.

   Patricia Tomaszek - 12.01.2011 - 17:00

8. E-Art: Fragmentation and Assembling

   What constitutes the distinctive aspects of digital art? In what manner is art (created by the possibilities offered by electronic writing) either breaking away from or innovating upon the previous artistic tradition? The search for an answer to these questions leads us to circumscribe five traits, many of which are common to more recent artistic traditions. These are, in order: reflections on language, the thematisation of the act of production, the conceptual value of the work, art in a place beyond its reproducibility and the consequent value of its uniqueness, but above all, the work as a fragmented assemblage.

   “Self Portrait (s) [as Other (s)]” by Talan Memmott, published in the first volume of the Electronic Literature Collection, summarizes and provides a case study, and in many ways it is exemplary of these traits.

    

   Patricia Tomaszek - 12.01.2011 - 17:04

9. The Textual Whole and its Vicissitudes in Digital and Ergodic Literature

   The paper tries to figure out what happens to the notion of the textual whole (or the literary work) if it can appropriate and mix texts not yet published, cannot be read in its entirety, if only a few of its signifiers can or will be shared by all its readers,  there’s no clear termination point to its metamorphosis, and it sets conditions and constraints to its reading process ranging from temporal limitations to personal and personalized perspectives. Perhaps something has to change, but what exactly and how and why?  

    

   Patricia Tomaszek - 12.01.2011 - 17:06

10. About Some Programmed Forms in Digital Poetry

    The paper examines how programmed literary works can been classified by using digital specific characters. The use of dual signs (signs that are for some part in the program and for other on screen), the existence of a semiotic gap (the semiotic level worked in the program differs from the semiotic multimedia level on screen) and the pluricode nature of these works allow to classify the works regarding how they use coding, time and the semiotic gap.

    Patricia Tomaszek - 12.01.2011 - 17:08

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