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1. Video Game Framings

   In a short oral presentation I will (1) give a rough survey of alleged (potential) elements of a video game’s paratext (epi- and peritext) by screening and commenting on exemplary, mainly digital, audio-visual media.
   Based on such illustrative material, (2) I will turn to the question of whether these examples actually are elements of a video game’s paratext. Elaborating on some thoughts developed in my forthcoming chapter on “Video Game Framings” I argue that as long as we do not have a clear definition of the term ‘paratext’ it is impossible to answer this question – to use a catchy phrase: no verification without definition.
   Since the term ‘paratext’ was introduced to the debate by literary theorist Gérard Genette, (3)
   his definitional stipulations – posing the (alleged) point of reference for everyone actually
   using the term ‘paratext’ – are reconstructed in outline.
   

   Alvaro Seica - 29.08.2014 - 11:22

2. Mashup as paratextual practice: beyond digital objects (in the age of networked media)

   I would like to present a concept which I fully developed in my contribution to the book edited by Nadine Desrochers and Daniel Apollon, Examining Paratextual Theory and its Applications in Digital Culture. In the text I propose a major reconfiguration of the main tenets of Genette’s paratextual theory in order to fully grasp the specific nature of today’s media environm
   ent, where modes of circulation often seem more important than the digital content itself. I argue
   

   Alvaro Seica - 29.08.2014 - 11:26

3. Examining Paratextual Theory and its Applications in Digital Culture

   Examining Paratextual Theory and its Applications in Digital Culture

   Alvaro Seica - 29.08.2014 - 12:26

4. Um Feixe Luminoso: Uma Leitura da Colecção de Literatura Electrónica Portuguesa

   A Colecção de Literatura Electrónica Portuguesa, na base de dados ELMCIP, pretende abordar e recolher as obras criativas e teóricas mais relevantes produzidas por autores portugueses no campo da literatura electrónica, durante os últimos quarenta e cinco anos. A colecção agrega também autores, eventos, organizações, editoras, periódicos, publicações, conferências, performances, instalações e exposições que estejam relacionadas com o contexto português.

   Álvaro Seiça fez uma palestra no dia 25 de junho de 2014, pelas 15h00, na Sala Ferreira Lima (6º piso, Faculdade de Letras da Universidade de Coimbra), intitulada «Um Feixe Luminoso: Uma Leitura da Colecção de Literatura Electrónica Portuguesa». Nesta palestra foi apresentada a Colecção de Literatura Electrónica Portuguesa que integra a base de dados ELMCIP (Electronic Literature as a Model of Creativity and Innovation in Practice, projecto coordenado por Scott Rettberg). Esta iniciativa é uma organização do Programa de Doutoramento em Materialidades da Literatura (Programa Doutoral FCT), em colaboração com o Programa de Cultura Digital da Universidade de Bergen.

   Alvaro Seica - 16.09.2014 - 13:19

5. Reading Writing Interfaces by Lori Emerson

   Lori Emerson's Reading Writing Interfaces is a media archeology of the interface. A critique of the "invisible" interface, the "magic" of iOS that "just works," Emerson analyzes how interfaces promote or occlude human agency in computational environments. Anti-telelogical in order to interrupt the "triumphalist" narratives of progress that can characterize much writing about media, Reading Writing Interfaces stages its four chapters and postscript ("The Googlization of Literature") as "ruptures" to emphasize failure as a key element of media development.

   Kathi Inman Berens - 19.09.2014 - 16:49

6. Alire; Um Histórico

   Neste texto, Philippe Bootz apresenta uma síntese da história e filiações da poesia eletrônica na França, enfatizando as tendências e o significativo papel da "poesia animada". O autor se concentra na vanguarda do grupo L.A.I.R.E. e da revista Alire, ambos fundados por ele e Tibor Papp em 1988 e 1989, respectivamente. Ainda para esse poeta e pesquisador, a literatura eletrônica também tem uma história própria. Essa história é um objeto de debate e posicionamento dentro de um campo de conhecimento, particularmente francês.

   (Fonte: Resumo do Autor)

   Alvaro Seica - 24.09.2014 - 16:15

7. Selvbilder

   Lecture with Siri Meyer on self-representation from the Renaissance to social media.

   Alvaro Seica - 26.09.2014 - 18:13

8. Whisper Wire: Code as a Medium for Sending and Receiving Un-Homed Messages Through Haunted Media

   This paper puts forward haunted media as theory of mediation able to address contemporary networked writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks which are both physical and digital, and which serve both as linguistic structures and modes of transmission and reception for computer-generated texts. These texts themselves are composed of source code and textual output. They are neither here nor there, but rather here and there, past and future, original and copy. The complex temporaility of this in-between state is further articulated through Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating between two states” (23). This theoretical framework for haunted media will be employed to discuss a web-based computer-generated text called Whisper Wire (Carpenter 2010).

   J. R. Carpenter - 04.10.2014 - 13:04

9. Finding No Object: A Traversal through Processes in Digital Poetry

   Although Mieke Bal’s “travelling concepts” (2002) framework is widely used, even if not always acknowledged, as a migration function within the humanities, arts and architecture, there is still a prevalence of researching a unique and unchangeable object. Thus, even if Bal calls for a critical object, which ought to be analyzed, meaning that a “theoretical object” entails different views on what a text or a work of art might signify, these approaches do not accurately perform when dealing with digital artworks. In fact, if one undertakes a critical position towards generative, time-based or distributed media artworks, one needs to adopt a reading and analytical perspective that disregards objects, but considers data, process(es), instantiations and manifestations. As Philippe Bootz et al. (2009) assert, our reception of digital literary works cannot comply with an objectual view, as the work/artifact is no longer a consistent and identifiable element, since it is constituted by several process(es) and variables, e.g.

   Alvaro Seica - 23.10.2014 - 12:00

10. Time-Lapse Reading as Critical 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. Luke DuBois’s concept of “time-lapse phonography” (2011), I introduce the notion of time-lapse reading as a complementary layer to close reading.

    (Source: Author's Abstract)

    Alvaro Seica - 07.11.2014 - 19:51

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