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1. ELO 2015 Conference Program and Festival Catalog

   This is the paperback version of the ELO 2015 The End(s) of Electronic Literature Conference Program and Festival Catalog. It includes abstracts to all workshops, roundtable discussions, lightning talks, research papers and panels, readings, performances and screenings, and exhibitions that are part of ELO 2015. For more information, see the individual elements of the programme.

   Hannah Ackermans - 02.09.2015 - 10:10

2. ELO 2015 Conference Program and Festival Catalog (e-Pub)

   This is the e-Pub version of the ELO 2015 The End(s) of Electronic Literature Conference Program and Festival Catalog. It includes abstracts to all workshops, roundtable discussions, lightning talks, research papers and panels, readings, performances and screenings, and exhibitions that are part of ELO 2015. For more information, see the individual elements of the programme.

   Hannah Ackermans - 02.09.2015 - 10:17

3. ELO 2015 Conference Program and Festival Catalog (PDF)

   This is the PDF version of the ELO 2015 The End(s) of Electronic Literature Conference Program and Festival Catalog. It includes abstracts to all workshops, roundtable discussions, lightning talks, research papers and panels, readings, performances and screenings, and exhibitions that are part of ELO 2015. For more information, see the individual elements of the programme.

   Hannah Ackermans - 02.09.2015 - 10:22

4. The Digital Diasthima: Time-Lapse Reading as Critical and Creative Performance

   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 - 20:26

5. 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

6. Texto Digital 11.1 (2015)

   Texto Digital 11.1 (2015)

   Alvaro Seica - 03.09.2015 - 22:19

7. Um Feixe Luminoso: Uma Leitura da Coleção de Literatura Eletrônica Portuguesa

   A Coleção de Literatura Eletrónica Portuguesa (CLEP), na base de dados ELMCIP, pretende abordar e recolher as obras criativas e teóricas mais relevantes produzidas por autores portugueses no campo da literatura eletrónica, durante os últimos quarenta e cinco anos. A coleção agrega também autores, eventos, organizações, editoras, periódicos, publicações, conferências, performances, instalações e exposições que estejam relacionadas com o contexto português.
   O presente ensaio analisa criticamente a CLEP, em torno de elementos literários, políticos, históricos, estéticos e tecnológicos, através de um fio condutor representado por um “feixe luminoso”, que pretende dar conta da transição e continuidade temática e medial, mas também da transgressão e ruptura, produzidas pela vanguarda do movimento de Poesia Experimental dos anos 1960 até aos ambientes computacionais de criação literária do século 21. Ao longo desta leitura, analisa-se igualmente várias obras de Pedro Barbosa, E. M. de Melo e Castro, Silvestre Pestana, Manuel Portela e Rui Torres.

   (Fonte: Resumo do Autor)

   Alvaro Seica - 03.09.2015 - 22:32

8. 'Algorritmos: Infopoemas' by E. M. de Melo e Castro

   Since 1986, besides videopoetry, E. M. de Melo e Castro worked on a series of experiments with other computer media (suportes informáticos), coined by the author as “infopoesia” [infopoetry], in which he used image editor software. Once more – and this is a fact the analysis by Jorge Luiz Antonio (2001) does not highlight – the prevailing choice of image editors at the expense of word processors reveals the visual affiliation of Castrian poetics. The infopoems’ visual animations acknowledge pixel as the primary unit of meaning, in the perspective of an infopoetic language.

   (Source: Author's text)

   Alvaro Seica - 03.09.2015 - 22:50

9. 'Computer Poetry' by Silvestre Pestana

   In the 1980s, the world saw the introduction of personal computers (PCs). While the first creative stage of electronic literature took advantage of mainframe computers, only accessible in institutional environments, the context in which Silvestre Pestana created his first computer poems was totally different – a new wave Pedro Barbosa sarcastically calls “poesia doméstica” [domestic poetry] (1996: 147). With personal computers, Silvestre Pestana programmed in BASIC, first for a Sinclair ZX81, and then, already with chromatic lighting, for a Sinclair ZX Spectrum, three poems respectively dedicated to Henri Chopin, E. M. de Melo e Castro and Julian Beck, which resulted in the Computer Poetry (1981-83) series. Pestana, a visual artist, writer and performer – who had returned from the exile in Sweden after Portugal’s Carnation Revolution of April 25, 1974 – brought diverse influences put forward with photography, video, performance, and computer media.

   Alvaro Seica - 04.09.2015 - 02:00

10. 'Máquinas Pensantes' by Pedro Barbosa

    Barbosa’s theoretical-practical trilogy closes with Máquinas Pensantes: Aforismos Gerados por Computador [Thinking Machines: Computer-Generated Aphorisms] (1988), as it can be understood as the third volume of A Literatura Cibernética. Here, the author presents a long series of literary aphorisms, in which the generation of texts is said to be “computer-assisted” (Computer-Assisted Literature) in BASIC language. The “A” series (Re-text program) deals with combinatorial “re-textualizações” [re-textualizations] (1988: 59) of a fragment (“matrix-text”) by Nietzsche and the “B” series (Acaso program), which had been partially published in the Jornal de Notícias (1984), draws upon the conceptual model created by Melo e Castro’s poem “Tudo Pode Ser Dito Num Poema” [Everything Can Be Said in a Poem], included in Álea e Vazio [Chance and Void] (1971). Melo e Castro himself would write an early review on the aphorisms, in the Colóquio Letras (1986) literary magazine, revealing Barbosa’s outputs as undeniable literary productions.

    Alvaro Seica - 04.09.2015 - 02:47

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