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1. '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

2. '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

3. '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

4. Recensão crítica de ‘Encontros com Ana Hatherly'

   Recensão crítica de ‘Encontros com Ana Hatherly'

   Diogo Marques - 26.07.2017 - 16:28

5. Entre o Demasiado Literal e o Excessivamente Literário: Potencialidades e Limites do Tacto Háptico

   Entre o Demasiado Literal e o Excessivamente Literário: Potencialidades e Limites do Tacto Háptico

   Diogo Marques - 26.07.2017 - 16:32

6. PO.EX: Arquivo, Subarquivo, Meta-arquivo» [Recensão crítica de Rui Torres & Sandy Baldwin, EX: Essays from Portugal on Cyberliterature and Intermedia (By Pedro Barbosa, Ana Hatherly and E. M. de Melo e Castro).

   PO.EX: Arquivo, Subarquivo, Meta-arquivo» [Recensão crítica de Rui Torres & Sandy Baldwin, EX: Essays from Portugal on Cyberliterature and Intermedia (By Pedro Barbosa, Ana Hatherly and E. M. de Melo e Castro).

   Diogo Marques - 26.07.2017 - 16:40

7. The Machine in the Text, and the Text in the Machine

   "The Machine in the Text, and the Text in the Machine" is a review essay on Electronic Literature: New Horizons for the Literary (University of Notre Dame, 2008) by N. Katherine Hayles, and Mechanisms: New Media and the Forensic Imagination (MIT Press, 2008), by Matthew G. Kirschenbaum. Both works make remarkable contributions for the emerging field of literary studies and the theory of digital media. While Hayles analyses the interaction between humans and computing machines as embodied in electronic works, Kirschenbaum conceptualizes digitally at the level of inscription and establishes a social text rationale for electronic objects.

   tye042 - 06.09.2017 - 12:59

8. Architecture as a Narrative Medium

   Christine Bucher, reviewing Beatriz Columnina, considers the narrative and photographic dimensions of interiors designed by Adolf Loos and Le Corbusier.

   (Source: ebr)

    

   Lisa Berwanger - 12.09.2017 - 14:37

9. The End of Landscape: Holes by Graham Allen

   In her discussion of the textual, technical, and figurative characteristics of Graham Allen’s Holes (2017), Karhio “argues that [Allen’s text] is not a landscape poem in the customary sense” and explores the ways in which the digital platforms deployed in the project’s creation and publication contribute to the signifying structures that “challenge the idea of landscape as symbolic representation of the inner world of the speaking subject.”

   Mona Pihlamäe - 10.10.2017 - 11:15

10. Back to the Book: Tempest and Funkhouser’s Retro Translations

    Jeneen Naji describes Chris Funkhouser’s Press Again and Sonny Rae Tempest’s Famicommunist Poetics as examples of “the UnderAcademy style” begun by Talan Memmott. At the same time, within the context of post-digital publication, Naji explores concepts like “transcreation” and “translation” insofar as the two digital practitioners have conveyed experimental e-texts into print.

    Mona Pihlamäe - 10.10.2017 - 11:26

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