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1. Do caos ao espaco ciberal

   Chaos & Cyber Culture brings together a series of articles written by Timothy in from the 70s to the 90s, including the title article, published in 1994, covering his reflections and predictions about the digital universe and its communications network. It is impossible to map the rich source of Leary’s ideas, some of which I shall try to summarize here, without using the creative terminology with which he expounds the exuberance and turbulence of his imagination.

   Luciana Gattass - 12.11.2012 - 10:24

2. For a meaning of poiesis: 4 notes/interfaces

   Contrary to Walter Pater’s celebrated maxim that “All art constantly aspires towards the condition of music”, it is claimed here that the real aspiration is towards poetry, above all if we consider it as synonymous to poiesis, to creation in the broad and also extensive sense. Derived from the Greek term meaning ‘to make’ it can be applied to the whole invention of language (construction of forms) and to the reading of things (the cosmo-view of the world, of reality), it is more encompassing and applicable to the plural universe of records and the support of art and poetry. Furthermore, it would be oriented more towards poetry in the sense of reading not alienated from things, as Roland Barthes would say; in short, for a language other than the reified, repressed. This perspective is far from the particularly abstract ambition (almost of another world) that shows off music and sound, and approximates to the solidity and distance of poetry, because in essence it always dissolves between sound and feeling, between the concretion of language and its more distant and abstract materialization. Between the known feeling and that which is created.

   Luciana Gattass - 12.11.2012 - 11:33

3. POIESIS, p0es1s, p0es1e – and beyond: A retroperspective

   Being fascinated by the dynamics and the potential which medial technologies offer for the artistic investigation of materiality and the individual and social use of language, the poetological concept of the show formulated a key idea which is still reflected in the subtitle of the recent “poiesis”-exhibition: the difference between program and pixel, or between a perception proposition and the ‘underlying’ code. In his foreword to the small catalogue from 1992, André Vallias describes this crucial distinction from the code perspective: “Data dissolve the borders between bodies, surfaces, sounds, words, dots, tones, letters and numbers”.1 Accordingly, the show’s title “p0es1e” exemplifies the difference by intertwining the sign systems of perceivable writing and the digital code normally used to program in an ‘unobservable’ way what can be perceived. Observing the unobservable in language, is surely one of the core characteristics of experimental poetry. The conceptual fusion of different dimensions and uses of languages is still a prominent procedure of poetic reflexivity. Dick Higgins had formulated his concept of poetic intermedia along these lines, in 1965.

   Luciana Gattass - 12.11.2012 - 12:19

4. From chaos to cybereal space

   Chaos & Cyber Culture brings together a series of articles written by Timothy in from the 70s to the 90s, including the title article, published in 1994, covering his reflections and predictions about the digital universe and its communications network. It is impossible to map the rich source of Leary’s ideas, some of which I shall try to summarize here, without using the creative terminology with which he expounds the exuberance and turbulence of his imagination.

   Luciana Gattass - 12.11.2012 - 13:31

5. Em territorio escuro

   Em territorio escuro

   Luciana Gattass - 12.11.2012 - 13:41

6. <POEMA> entre pixel e programa </>

   A maior parte dos textos que permeiam a vida do homem contemporâneo passa quase que invariavelmente desapercebida ao seu olhar. São textos que se destinam à leitura por parte de máquinas. Textos que registram informação: do minúsculo “elemento de imagem” , que compõe os mosaicos que brilham na tela de monitores e painéis eletrônicos, ao conjunto
   complexo de instruções e procedimentos que nos permitem gerar e manipular informação . Esta exposição se pergunta: o que faz o poeta (“aquele-que-faz”, do grego POIEIN = fazer, produzir) num contexto que torna cada vez mais porosas as fronteiras que separam letras de números, imagens de sons, etceteras de etceteras?

   Luciana Gattass - 12.11.2012 - 14:00

7. <POEM> between pixel and program </>

   A maior parte dos textos que permeiam a vida do homem contemporâneo passa quase que invariavelmente desapercebida ao seu olhar. São textos que se destinam à leitura por parte de máquinas. Textos que registram informação: do minúsculo “elemento de imagem” , que compõe os mosaicos que brilham na tela de monitores e painéis eletrônicos, ao conjunto
   complexo de instruções e procedimentos que nos permitem gerar e manipular informação . Esta exposição se pergunta: o que faz o poeta (“aquele-que-faz”, do grego POIEIN = fazer, produzir) num contexto que torna cada vez mais porosas as fronteiras que separam letras de números, imagens de sons, etceteras de etceteras?

   Luciana Gattass - 12.11.2012 - 14:05

8. Digitale Editionen

   Digitale Editionen

   Jörgen Schäfer - 20.11.2012 - 14:51

9. Spielbare Konflikte: Gattungsstrukturen und Spielhandlungen im interaktiven Drama

   Revised German version of Looking Behind the Façade

   Jörgen Schäfer - 23.11.2012 - 13:38

10. Contrapoemas & Anfipoemas

    Contrapoemas & Anfipoemas

    Luciana Gattass - 28.11.2012 - 13:19

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