Digital Poetry

The following study, conveys the needs, of a project that unfolds itself onto two types of mutually symbiotic research. The first one is of a practical nature, that intales my work production - not only, physical, visual and touchable work but also audible work that demands a theoretical counterpart. Unfolding into references, thematic motives, it drives me to write about the language and its framework, and above it all, the way that language, like a game, can be played, through a set of rules. The later imposition, deserves vital importance, for it’s typical of human behaviour,that so much evolution and expression underwent, throughout the history of, culture and civilization, and focusing on the way it can take artistic shape and its usage under a given creator’s hands. This analysis features the rule, it’s transgressions, the freedom, and its role-paly through art, as a construction and an escape. On a last instance I recall, the littleness that goes with board games, without for...

El artículo analiza un corpus de obras contemporáneas que desde las convergencias del arte y las tecnologías exploran el terreno de la inteligencia artificial, a través de la confluencia de diferentes clases de materialidades, tanto físicas como virtuales. Sin embargo, las capacidades cognitivas de los sistemas computacionales implicados en estos proyectos no quedan circunscritas al rol de complicidad con respecto al fenómeno de gubernamentalidad algorítmica, sino que implementan diferentes tácticas de desvío de los usos instrumentales de las tecnologías, dirigidas a desarticular sus funciones hegemónicas de control sobre cuerpos y afectos, o bien a transgredir la eficiencia esperada de las inteligencias artificiales. Mediante la perspectiva del neomaterialismo, argumentamos que las obras relevadas cristalizan determinadas tensiones identificadas aquí como disputa autoral, condición generativa y transgresiones hacia la materialidad física, las cuales asimismo se encuentran presentes en otros proyectos desarrollados desde mediados del siglo pasado ajenos a la inteligencia artificial. El artículo concluye que aquellas categorías permiten desmitificar la novedad radical que la inteligencia artificial supone para la historia del arte, a su vez que incitan relecturas críticas de sus narrativas a los fines de enlazar la historia del arte contemporáneo canónico con los devenires del arte tecnológico.

¶ 1 This essay is part of the third iteration of the anthology. Since public review and commentary help scholars develop their ideas, the editors hope that readers will continue to comment on the already published essay. You may also wish to read the draft essay, which underwent open review in 2017, and the project history.

If, as Jacques Derrida once claimed in a New York Times interview, 'Everything is a text' (Smith, 1998), then, of course, we are correct to seek methods of textual analysis appropriate for those media we choose to scrutinize, including those texts contained within the entire ...

Resumo: Com o advento da literatura digital, produzida e fruída em ambiente digital, pululam inquietações, mormente pela ausência de tradição críticopedagógica e por certo temor diante dos novos objetos, em termos de sonoridades, pictorialidades e interrelações. Certas questões se tornam prementes, no âmbito das materialidades do objeto digital: os procedimentos intermedializantes e seus potenciais significados, a experiência multimediática e os textos teórico-explicativos que, por vezes, os acompanham, aqui denominados de paratextuais. Assim, ao longo do texto, discuto os conceitos de forma, desforma, instalação, interpretação, cânone e tradição, em ligeira visitação ao poema digital "O cosmonauta" de Wilton Azevedo e Alckmar dos Santos.

This is a collaborative practice-based investigation which aims to outline some of the key lessons and implications from a number of the uses of gesture in the sculpture of Barbara Hepworth. This mini-research project consists of this formal academic paper and a selection of digital multimedia poetry which functions as a creative-critical intervention and a component part of this paper. 1 The digital multimedia poetry was created in collaboration by the authors in response to Hepworth's original sculpture at the Barbara Hepworth Museum (St Ives) and the Hepworth Wakefield (Yorkshire). The creative element of the investigation attempts to model Hepworth's use of gesture and in doing so translate the function of gesture from its use in a visual arts practice to a multimedia textual practice. Building on a multidisciplinary understanding of gesture and Hepworth's own ideas about "gesture in landscape" (53), the project combines the historical and cultural implications of gesture in 20 th-century sculpture with technical reflections drawn from and encoded in the practice collaboration. This project considers the gestures of the artist, gestures represented in the artwork, and gestures choreographed by the artwork (in the reader/audience/participant). The collaboration features new interactive works created specifically for the Interfaces 2017 conference where this paper was originally presented alongside some of the creative practice. The project is intended to function as a provocation raising questions about the interaction between tension and gesture in both sculptural and digital textual practices, rather than an authoritative, exhaustive or conclusive typology of the use of gesture in Hepworth's corpus (Figure 1). Gesture This research project involves attempting to translate "gesture" as an art function across two very different art practices, cultures and media-forms. It draws on Hepworth's 20 th-century sculpture (which is material, visual and tactile) and applies some of the approaches used to a 21 st-century multi-1 This paper consists of 50% traditional essay and 50% equivalent practice-as-research. The URL to access the practice is: www.newfiretreepress.co.uk/gesture (page accessed 14 th May 2018).

This study focuses on the work of Jim Andrews, whose electronic poems take advantage of a variety of media, authoring programs, programming languages, and file formats to create poetic experiences worthy of study. Much can be learned about electronic textuality and poetry by following the trajectory of a poet and programmer whose fascination with language in programmable media leads him to distinctive poetic explorations and collaborations. This study offers a detailed exploration of Andrews' poetry, motivations, inspirations, and poetics, while telling a piece of the story of the rise of electronic poetry from the mid 1980s until the present. Electronic poetry can be defined as first generation electronic objects that can only be read with a computer-they cannot be printed out nor read aloud without negating that which makes them "native" to the digital environment in which they were created, exist, and are experienced in. If translated to different media, they would lose the extra-textual elements that I describe in this study as behavior. These "behaviors" electronic texts exhibit are programmed instructions that cause the text to be still, move, react to user input, change, act on a schedule, or include a sound component. The conversation between the growing capabilities of computers and networks and Andrews' poetry is the most extensive part of the study, examining three areas in which he develops his poetry: visual poetry (from static to kinetic), sound poetry (from static to responsive), and code poetry (from objects to applications). In addition to being a literary biography, the close readings of Andrews' poems are mediaspecific analyses that demonstrate how the software and programming languages used shape the creative and production performances in significant ways. This study makes available new materials for those interested in the textual materiality of Andrews' videogame poem, Arteroids, by publishing the Arteroids Development Folder-a collection of source files, drafts, and old versions of the poem. This collection is of great value to those who wish to inform readings of the work, study the source code and its programming architecture, and even produce a critical edition of the work.

impõe pelo menos dois constrangimentos à análise crítica. Um deles relaciona-se com o fato de que a peça submete a leitura, desde o título, à estética clariceana, quando elege como ponto de partida da criação o conto de Clarice Lispector, publicado em Laços de família, em 1960. O outro, diz respeito às dificuldades que a criação digital impõe à leitura literária, no que diz respeito a sua formalização material, e que exige mecanismos de análise atentos à configuração hipertextual, bem como à convivência da linguagem verbal com outras linguagens. Este ensaio parte do pressuposto de que ambos os constrangimentos podem ser elaborados criticamente e usados como ferramentas de análise: os significados consolidados do conto de Clarice Lispector podem ser lidos como elementos que 'desprogramam' (Machado, 2007) a técnica digital, empregada na formalização material de Amor de Clarice, ao mesmo tempo em que essa formalização material poderia ser identificada como o que possibilita deslocar e ampliar os significados do conto clariceano. A análise do objeto em questão está amparada pelas reflexões de Marku Eskelinen (2012) sobre a intertextualidade no contexto da cibertextualidade e nas de George Landow (1994; 2009), sobre o hipertexto. Palavras-chave: literatura digital; intertextualidade; hipermídia; desprogramação da técnica. One other love: a reading of Amor de Clarice, by Rui Torres ABSTRACT. The reading of Amor de Clarice, by Rui Torres, imposes at least two embarassments to the critical analysis. One of them is due to the fact that the piece submits reading, since the title, to the Clarice Lispector's aesthetics, when it elects as the starting point the creation of the Clarice Lispector's short story, published in Laços de família, in 1960. The other, is related to its material formalization, and it requires analysis mechanisms attentive to the configuration hypertextual, and also the coexistence of verbal language with other languages. This essay is based on the assumption that both embarassments can be elaborated critically and used as analysis tool: the meanings consolidated in Clarice Lispector's short story can be read as elements that 'deprogram' (Machado, 2007) the digital technique, employed on the material formalization of Amor de Clarice, at the same time that this material formalization can be identified as what enables displacing and expanding the meanings of Clarice Lispector's short story. The analysis of the piece is supported by the reflections of Marku Eskellinen (2012) about the intertextuality on the context of cybertextuality and by those from George Landow (1994; 2009), about the hypertext.

Si l'etude bio-bibliographique revele la variete des lectures linguistiques de Raymond Queneau, elle montre aussi, de maniere spectaculaire, le role majeur qu'a joue un seul ouvrage, dans lequel on peut presque dire que s'est resumee pour lui la linguistique " institutionnelle" : Le Langage, introduction linguistique a l'histoire de Joseph Vendryes. Il le lit, precisement le 16 fevrier 1922 et il le cite pendant presque quarante ans. Il le dit encore en 1962 a Georges Charbonnier : " [il] m'a beaucoup influence ". Il declare meme que Martinet, dont les Elements venaient de paraitre, " exprime exactement les memes idees ". Cela ne signifie pas que Queneau ne percoit pas l'evolution technique de ce domaine entre 1914 et 1960, mais plutot que, selon lui, Vendryes a degage de maniere definitive quels etaient les enjeux fondamentaux de la linguistique. Si Queneau a ete passionne par la lecture de Vendryes, c'est parce qu'il y ...

Resumen: el texto reflexiona acerca de algunas corrientes y obras consideradas como provocadoras en el arte contemporáneo y la fusión entre arte-vida como una de las tantas máximas buscadas en el arte. (Revisión y actualziación de un texto escrito y publciado en el año 2011).

Resumo: Com o advento da literatura digital, produzida e fruída em ambiente digital, pululam inquietações, mormente pela ausência de tradição críticopedagógica e por certo temor diante dos novos objetos, em termos de sonoridades, pictorialidades e interrelações. Certas questões se tornam prementes, no âmbito das materialidades do objeto digital: os procedimentos intermedializantes e seus potenciais significados, a experiência multimediática e os textos teórico-explicativos que, por vezes, os acompanham, aqui denominados de paratextuais. Assim, ao longo do texto, discuto os conceitos de forma, desforma, instalação, interpretação, cânone e tradição, em ligeira visitação ao poema digital "O cosmonauta" de Wilton Azevedo e Alckmar dos Santos.

Computers, smart-phones, tablets etc. expose most people to new cultural and artistic practices made possible through digital technologies. Among these practices and objects for scholarly research and analyses is literature-electronic literature. The article addresses the increasingly interactive and performative role of the reader and the need for transaesthetic, analytical and methodological approaches to multimodal literature. A brief historical background, the "current" terminology of electronic literature and a short outline of Scandinavian electronic literature are included, before Johannes Heldén's Astroecology is discussed. Say "literature" and the image springing to mind will likely be a book. (N. Katherine Hayles, 2009)

Lori Emerson's book Reading Writing Interfaces is a compelling work, deftly maneuvering through territory that might easily have veered toward the conspiratorial. Emerson has pierced the bubble of outward appearance presented by Apple and Google, while offering theoretical context and historical developments toward better understanding the role of computerized interfaces so prevalent today.

During 2022, both transformer-based AI text generation systems such as GPT-3 and AI text-to-image generation systems such as DALL•E 2 and Stable Diffusion made exponential leaps forward and are unquestionably altering the fields of digital art and electronic literature. In this panel a group of electronic literature authors and theorists consider new opportunities for human creativity presented by these systems and present new works have produced during the past year that specifically address these systems as environments for literary expressions that are translated through iterative interlocutive processes into visual representations. The premise that binds these presentations is that these systems and the works generated must be considered from a literary perspective, as they originate in human writing. In works ranging from a visual memoir of the personal experience of a health crisis, to interactive web comics, to architectures based on abstract poetic language, to political satire, four artists explore the capabilities of these writing environments for new genres of literary artist practice, while a digital culture theorist considers the origins and effects of the particular training datasets of human language and images on which these new hybrid forms are based.

Como um signo digital do código de sinalização que zela a entrada para o seu universo, o poema "Para o leitor 1er de/vagar", de Herberto Helder,i plan teia o "modus". Já o título em forma de apelo imediatamente conativo, já nos próprios recursos internos que, através da pontuação, regulam o ritmo. O andamento "de/vagar", controlado pelo título, não é um procedimento que se possa evitar, desde que a exigência se interioriza no corpo do poema, torna-se uma auto-determinação que se estende ao leitor e lhe rege os passos. Resta a este, introduzir-se no veículo-o poema-cujo sistema sutil de engrenagens e freios permite uma viagem atenciosa, num ritmo ditado pela própria organização plurivalente das peças, dispostas em frases menores ou maiores. Alçapão aberto, elas regulam a redução ou intensificação da marcha. O leitor se encontra, assim, no domínio do tempo: o tempo do poema, o tempo para 1er o poema, o tempo de 1er o poema, o tempo que passa sobre o poema. Que jogos escusos entre diacronia e sincronia o poema dilata na sua combustão semântica? Volto minha existencia derredor para. O leitor. As mãos espalmadas. As costas das. Mãos. Leitor: eu sou lento. Esta candeia que rodo amarela por tora, e ardentescura por dentro. Candeia tio baixa-viva. Sou lento numa luminosidade como em melo de ilusão. Volto o que é um rosto ou um esquecimento. Uma vida distribuída por solidão, * Mestre (O discurso à procura do discurso: estudo dos romances de primeira

The article explores the work of two contemporary poets, Alice Oswald and J.R. Carpenter, with reference to the material and immaterial aspects of their poetic projects. It is argued that although disparate in their form, both artists’ works are linked by their interest in the environmental forces as (im)material manifestations of more-than-human agency. In this sense they can be seen as belonging to a longer and broader strain of poetic endeavours (like concrete poetry and land art) that struggle to problematise the relationship between form and meaning. The article also employs the notion of earth scripts which allows to see such poetic and artistic practices as forms of descriptions of the earth characterized by differing degrees of sensitivity to the environmental challenges posed by the Anthropocene.

O intuito do presente artigo é pensar e discutir a subjetividade na poesia contemporânea, partindo daquela que foi proposta pelo movimento dos poetas concretos até a que se apresenta nas obras das literaturas digitais. Tal argumentação tem como ponto de partida a “crise do verso”, estabelecida por Mallarmé. É a partir dos desdobramentos das ideias do poeta francês, sobretudo quando ele trata de uma dualidade entre a prosa e o verso, que leva a um deslocamento da subjetividade poética, é que tentamos traçar uma linha para orientar o debate acerca de como essa subjetividade se dá nas literaturas digitais.

Este trabalho pretende, primeiramente, apresentar as etapas e as operações que levaram à criação da obra literária digital A derrubada do Sarrià. Num segundo momento, o foco da análise faz com que se saia da criação e se chegue à leitura da obra por um de seus criadores, tentando desafiar justamente essa tensão que se instala na conjugação entre criador e leitor.

http://dx.doi.org/10.5007/1807-9288.2016v12n2p209O livro das pequenas coisas foi produzido a partir da oficina “Criação poética digital” ministrada pelo coletivo formado por Nupill, 1maginári0: poéticas computacionais e Ateliê Ciclope de arte e publicação digital durante o VI Simpósio Internacional e VIII Simpósio Nacional de Literatura e Informática, realizado na Universidade de Passo Fundo entre os dias 9 e 11 de novembro de 2016. Atualmente está disponível na internete em http://ciclope.com.br/livrocoisas/.

O meio digital, como é já notório, alterou qualitativa equantitativamente a materialidade das obras que nos pomos a ler. Esteartigo propõe que, para ler criações digitais, não basta ser alfabetizadoe ter noções medianas de computadores e de redes. Há umacomplexidade a ser desenvolvida, uma sofisticação a ser cultivada poresses leitores,, quando se intrometem pelo espaço digital adentro.Palavras-chave: Mallarmé, programação digital, Melo e Castro.

Še vedno? Diskurz o intermedialnosti je dandanes že dodobra koloniziral družboslovne in humanistične vede, kajpak tudi literarno vedo. Nekateri govorijo kar o intermedialnem obratu (intermedial turn) v sodobni kulturologiji (gl. Wolf, 1999, 2 in sl.). Še bolj goreči zagovorniki (slabo ali sploh nerefl ektiranih) teoretskih novitet pa celo zagotavljajo, da smo prišli iz Gutenbergove dobe v intermedialno in s tem-kakor nas učijo postmodernistični diskurzi-v polnokrven prehod iz monopola Resnice, vélikih zgodb, celovitega pogleda, središča ... v multiplikacijo resnic, malih zgodb, v razsrediščenje itn. Zato ni presenetljivo, da nekateri preroki Brave New Worlda menijo, da se bo morala literatura sama, če bo hotela preživeti, prilagoditi novim razmeram, in sicer tako, da bo zapustila središčnost in substancialnost svojega klasičnega medija, pisave in knjige, ter se vcepiti v nove komunikacijske tehnologije, v digitalni medijski krogotok.

A partir das reflexões que surgiram durante a apresentação guiada da obra “SAÍDA game” no “Congresso LitDig-BR da Electronic Literature Organization – ELO 2022” (28/06/2022), proponho nesse texto recordar brevemente o processo criativo da obra e discutir possíveis diferenças entre ler e jogar.

O presente trabalho analisa o livro Poemas de Brinquedo (2016), de Álvaro Andrade Garcia, poeta e artista mineiro. Nesse livro o autor apresenta uma prática poética que ultrapassa o impresso ao expandir o espaço do poema para outras mídias, incluindo a instalação e a performance.  Abordaremos a complexa rede de produção de Poemas de brinquedo, sua presença no ambiente digital e sua interlocução com outras artes. Além disso, trataremos das características desse livro transmídia, uma vez que ele foi primeiramente pensado como aplicativo e somente em um segundo momento produzido no formato impresso. Palavras-chave: Poemas de brinquedo; Livro transmídia; Poesia digital. 

The chapter offers an overview of the history of intermediality, from ancient visual poetry to new media formats, lists various conceptions of “medium” dominating in the field,  and explores a range of approaches to intermediality, from literary-oriented to digitally oriented. It zooms in on the understanding of intermediality as a material practice and artistic event and provides a short outline of the further topics of research.

Dès les années écoulées, les humains tentent de se faire une machine ou une technologie fonctionnelle dans le but de se soulager, se divertir et s'exprimer facilement. C'est de cette détermination est née l'avis d'engager les Twitterbots dans la création procédurale twittéraire. L'objectif de cet essai c'est de recenser les Twitterbots littéraires dans la twittosphère en employant la méthodologie hypothético-déductive pour que les lecteurs en tant qu'un pratique pédagogique soient au courant de la twittérature robotique. En plus, ayant défini les termes pertinentes, ce travail est distingué en quatre parties pertinentes, tout d'abord on recense la catégorisation littéraire de Twitterbot, les artisans twitterboteurs, ensuite, la génération processuelle de Twitterbot dans la twittosphère, enfin, la modalité de lecture du Twitterbot littéraire enfin, on conclut avec mon propre perspectif.

Kolektívna monografia TOP 5 prináša literárnokritický návrat k piatim knihám poézie a piatim knihám prózy vydaným roku 2017, ktoré zaujali odbornú čitateľskú verejnosť. Týchto desať kníh naznačilo potenciál zaradiť sa v budúcnosti do Zlatého fondu slovenskej literatúry a naďalej prirodzene vzbudzujú pozornosť. Jednotlivé štúdie TOP 5 zasahujú svojou povahou ešte živý literárny kontext, zároveň však už pripravujú podklady pre neskoršiu historickú syntézu. Súčasťou antológie je pohľad na súčasnú výtvarnú scénu prostredníctvom hodnotiacej state Ceny Oskára Čepana 2017. Kniha TOP 5 je primárne určená tým, ktorí majú záujem bližšie spoznať súčasné umenie na Slovensku, predovšetkým študentom humanitných odborov, pracovníkom v oblasti kultúry, ale aj širšej verejnosti. Publikáciu z verejných zdrojov podporil Fond na podporu umenia Supported using public funding by Slovak Arts Council

Este texto es una mezcla entre reflexion teorica y provocacion artistica. Mi investigacion se refiere al arte de la performance y los efectos de la presencia en escena, con estrategias performaticas enfocadas en la copia y el cover . Lo que me interesa en el proceso del cover es la incapacidad de identificar cual es el original y cual es la copia. Identidad, repeticion, diferencia, remix , fake , kitsch y simulacro son palabras que acompanan esta discusion. ?Como pensar y crear arte a partir de estas cuestiones? Para esto, presento el concepto brasileno de ‘Antropofagia’, acunado por Oswald de Andrade, con el fin de reflexionar sobre lo que llamo cover performativo . La performance Cicciolina's Breakfast es utilizada como ejemplo.  Palabras clave: Performance, cover performativo, copia, Brasil.

Este artigo tem como objetivo discutir o problema da tradução em textos e poemas escritos através de regras explícitas, as chamadas contraintes. Qualquer texto possui restrições inatas e traduzi-lo requer que tais restrições sejam levadas em consideração mesmo que não seja possível. Já em relação às contraintes explícitas, se as conhecemos, devemos ou não considerá-las? É possível conhecer todas essas contraintes?

In the 1990s and the first decade of the new millennium, electronic literature was a topic of considerable interest to literary scholars from the Low Countries. In the last decade, however, this attention has waned. This is surprising, considering electronic literature's (renewed) relevance in a world increasingly under the spell of digitization. This paper draws on recent international scholarship in order to reexamine prevailing definitions of electronic literature in Flanders and the Netherlands. To gain insight into the particularities of the Dutch and Flemish context, this paper analyzes the ways in which institutions-such as funding bodies, academic scholars, and other such 'gatekeepers'-have left their mark on the symbolic and material production of electronic literature. This institutional approach is twofold: 1) we examine what is considered 'digital' within these specific contexts, and 2) we examine which genres and individual works are considered 'literary' by these institutions. We conclude that electronic literature is particularly understood as a form of literary experimentation that was at its peak around the turn of the millennium. We propose to widen the scope of the definition to include both older forms that predate the internet and the personal computer and newer forms that do not align themselves primarily with the literary field, such as Instagram poetry.

Degenerativa y Regenerativa constituyen una pareja de obras de Eugenio Tisselli cuyos procesos creativos y productivos están materialmente vinculados. Degenerativa consiste en una página web que se corrompe cada que vez que se visita. Cada visita a la página supone la descomposición del código HTML que sustenta el texto original lo que provoca una degradación inexorable del texto. En Regenerativa, creada tras la primera obra, la visita de la página no solo degenera el texto, sino que un programa informático trata de extraer texto de la página desde la que se accede. Los pocos textos críticos que han analizado estas obras las han utilizado como una ocasión para repensar el futuro de las humanidades digitales con respecto a nuestras nociones de lo digital y lo humano. Este artículo no tiene tanto un interés prospectivo como retrospectivo: analiza cómo estas obras de Eugenio Tisselli tornan anacrónicos algunos de los presupuestos y términos fundamentales de la teoría literaria desde el Romanticismo. Dicho análisis ofrece una relectura de estas categorías románticas para imaginar otras más adecuadas y efectivas en el estudio de la literatura electrónica.

As a Mexican, we can expect NAFTA's continued impact on local people, the environment, and the economy, to be issues relevant for him to vindicate. In The 27th. El 27, the digital creator constructs an artivist discourse: he combines artistic expression, theoretical reflection and political action, to draw attention to this situation and the growing weight of algorithms in political development through a text that is intervened by automatic translation. This article values the motivations and reflections of Tisselli and his use of e-literature to build his critical discourse, but also his space within the conception of artivism.

on the system more over the next six months, broadening and expanding the template language to give more control to InkWell, deepening its understanding of language and the music of language, and adding more observations InkWell could make of its drafts and along with them more kinds of revisions. Over those months InkWell produced a lot more haiku, and I selected fourteen of them to add to the above four to test my understanding of the Turing Test using an extreme instance, but I was relying on a hazy memory of it-perhaps my understanding was naïve. Is Turing's essay relevant today? t In October 1950, the British journal Mind published an essay by Alan M. Turing titled, "Computing Machinery and Intelligence," in which Turing proposed an operational definition for "intelligence" [2]. This definition would come to be called "the Turing Test." Turing himself called it "the imitation game," in which a questioner separated from two contestants would submit questions to those contestants, read their replies, and ultimately choose one as human and the other as machine. Turing wrote the following: May not machines carry out something which ought to be described as thinking but which is very different from what a man does? This objection is a very strong one, but at least we can say that if, nevertheless, a machine can be constructed to play the imitation game satisfactorily, we need not be troubled by this objection.-Turing, Computing Machinery and Intelligence, 1950 The Turing Test feels like it's at (or near) the heart of the research program called artificial intelligence. These days we're too sophisticated for such a simple test-full imitation still

Esta tese tem por objetivo realizar o estudo crítico de duas obras da poeta portuguesa Ana Hatherly (1929-2015), escritas uma fase mais avançada de sua produção literária, intituladas Fibrilações (2005) e O Pavão Negro (2003). A partir da leitura e análise dos poemas selecionados, são identificados elementos simbólicos do período Barroco. A presença de imagens arquetípicas que também remetem à tradição hermética, como as flores, as aves, as mãos, as cores, estabelece uma ponte com a sua atividade investigativa sobre a presença da poesia visual em Portugal, nos séculos XVII e XVIII. No decurso da tese, busca-se realizar a aproximação entre a poesia e o pensamento crítico, na intenção de pôr em relevo a potência imaginativa de Ana Hatherly, destacando as principais linhas mestras de sua poética, que são: a relação interartes, a gestualidade, o hermetismo, o dialogismo, a plagiotropia, a prática do grafismo, o ensaísmo, a interação entre o autor, o texto e o leitor. Outro ponto de interesse desta investigação é a materialidade da escrita hatherlyana, que integra meios e técnicas que conferem originalidade essa poeta ímpar na poesia portuguesa contemporânea. Além da interlocução que Ana Hatherly faz com Paul Celan, outras vozes teórico-críticas são convocadas para fundamentar a pesquisa, como Gaston Bachelard, Roland Barthes, Georges Bataille, Maurice Blanchot, Jacques Rancière, Carl Gustav Jung e Marjorie Perloff. A respeito do Barroco, a investigação contempla estudos de José Antonio Maravall, Severo Sarduy, Helmut Anthony Hatzfeld, Omar Calabrese, dentre outros.

Palavras-chave: Barroco; Hermetismo; Gestualidade; Imaginação; Materialidade.

La conversacion entre Delicia Cebrian y Rodolfo Mata gira en torno a la pregunta acerca de que es un poema electronico y cuales son los rasgos que lo distinguen de un poema en papel. Se esboza una genealogia del poema electronico, la imposibilidad de reducir sus relaciones con el poema en papel a la idea de traduccion, y los problemas y desafios que surgen de las posibilidades de incorporar otros sistemas semioticos (imagenes, video y sonido) que ofrecen los medios electronicos. Se tocan temas como “interactividad” y “multimedialidad”. El caso particular que se analiza es el poema electronico Silencio vacio (2015), de Rodolfo Mata, concebido como un homenaje al poema “Silencio” del poeta concreto suizo-boliviano Eugen Gomringer. Mata aborda la descripcion de su proceso creativo como parte de la reflexion sobre la naturaleza del poema electronico.

Welcome to ELO2019, Cork ELO2019 marks the first time that the annual Electronic Literature Organization Conference & Media Arts Festival comes to Ireland. That this gathering should be hosted at University College Cork is indicative of the institution's commitment to interdisciplinarity, soon to be reified through the formation of the new School of English & Digital Humanities. While hosted at UCC, ELO2019 is not just about Cork, but a tribute to scholars and practitioners throughout the island of Ireland who have long sought to synthesise screens, computers and the literary. We recognise two such figures-Michael J. Maguire and Anne Karhio, one from Dublin, the other Galway-in two of our three keynotes. There are many other individuals-some scholars, some artists, some both-equally worthy of recognition, 1 and I do hope that they too see ELO2019 as a tribute to their efforts. My ambition is that ELO2019 will be seen as a new beginning for electronic literature in Ireland, encouraging more scholars and canon-makers to turn attention to creative activities on this island which have been, to date, somewhat neglected. ELO2019 is also an end, in that it brings to a close Dene Grigar's tenure as President of the organisation. Professor and Director of the Creative Media & Digital Culture Program at Washington State University Vancouver, Dene's presidency has been marked by generosity and progress. She has built on the strong foundations laid down by her 10 Keynote I: Michael J. Maguire (4.30pm) KEYNOTE I Chaired by Órla Murphy Michael J. Maguire 4.30pm, Boole Lecture Theatre 3 Potential Possibilities of Peripheral Porosity: A Combinatory Creative Community Keynote Drawing upon the experiences, opinions, views, and theories of several respected and renowned international practitioners of electronic literature, Maguire explores options and opportunities for porosity. Maguire offers the audience present the options of a keynote that itself addresses a counter concept to fixed conference circumferences. Through participatory means, this keynote challenges such complex circular theoretical boundaries, via the collective dissolution of solid, static, or secure, structures.

ESCRITA, MEMÔRIA E IMAGINAÇÃO, PRÁTICA TIPOGRÁFICA/VISUAL COMO ESTRATÉGIA METODOLÓGICA DE CRIAÇÃO DE NOVOS SIGNOS, ESPECIFICAMENTE SOBRE A SINTAXE DA ESCRITA URBANA ATUALIZADA E RECODIFICADA A PARTIR DA PRÁTICA DO GRAFFITI PELO SEU AUTOR, PAULO ROBERTO COSTA CRUZ JUNIOR, AKA ASNOUM.   

This essay provides a revision of North American sound poetry from the perspective of the digital culture. In an effort to describe the role that sound plays in digital literature creations, we have tried to find points of suture between the practitioners of sound poetry of different decades and the contemporary practices of sound and digital poetry. The main objective is to establish a relation between these poetic genres, as they both emphasize the aural dimension as well as challenge academic categorization and print tradition alike. We discuss the work of three seminal practitioners of sound poetry: Jerome Rothenberg, John Cage, and Jackson Mac Low. We examine their proposals alongside those of contemporary artists that belong to what we describe as the posthuman phase of sound poetry: Jim Andrews, Christian Bök, and Tracie Morris. Through the comparison of seminal sound poetry practitioners of the 1960s with contemporary North American poets that have recuperated poetry's performative dimension, we explore the new poetical effects produced by the digitalization of the human voice alone or in combination with other sounds, images and text. From Native American chants to the digital poetry found on the Web, we explore the influence of the medium as well as other cultural factors influencing the production of oral poetry and its dissemination. Digital poetry nourishes itself from previous literary traditions as well as from the multimedia convergence favoured by the digital medium. Despite being latecomers to the field of sound poetry, North American sound poets have influenced the work of artists at a global level, and continue to do so, both through their digital creations and through their live performances.

The main object of this electronic essay is to show in what respect hypermedia encourage multi-disciplinary approach es, and also to provide evidence suggesting that this presentational format is just as essential to knowledge acquisition as more traditional ones (i.e. those that deliver data in one specific field along one linear path). The present study is the outcome of an experiment led during two main doctorate sessions by Dr Denis Lagae, a lecturer at Paris IV-Sorbonne (https://lettres.sorbonne-universite.fr/), and myself in the Spring of 2004. During the experiment, participants consisting of both students and scholars specialising in English Studies were asked to stress the differences they felt existed when studying a literary excerpt taken from The Expedition of Humphry Clinker by Tobias Smollett.

Clostridium difficile infection (CDI) is reported to be frequently associated with inflammatory bowel disease (IBD). Because of the common characteristics of the clinical appearance of CDI and IBD the diagnosis and treatment of the same becomes complicated. We retrospectively investigated the prevalence of CDI in patients with IBD and analyzed their demographic and clinical profile. During analysis, the IBD patients (n=721; M:F=1.10:1) comprised of test group and an equal number of gender-matched patients with no indication of IBD was included as non-IBD controls. The demographic and clinical data as well as fecal C. difficile toxin status of all the patients were retrieved from our meticulously maintained laboratory records. The number of C. difficile positivity was more in the non-IBD group (20%) compared to IBD patients (16%) with non-significant difference (p<0.064). The patients in non-IBD group were relatively older (p<0.001) compared to those in IBD group. The duration of diarrhea in the IBD group was significantly longer (p<0.001) compared to the non-IBD group, but no significant difference (p>0.063) in the frequency of diarrhea between the two groups was observed. Blood in stool and abdominal pain symptoms were found to be significantly higher (p<0.001) among the IBD group whereas watery diarrhea and fever were significantly linked (p<0.001) with non-IBD group. Significant improvement was seen in most of the parameters during the time of follow-up. Though the prevalence of CDI in both IBD and non-IBD groups were almost comparable, clinical symptom and age of presentation varied in them.

meaning as the potential meaning of form, Grizelj 65ff.)⎯“signifying every cause whereby anything proceeds from that which is not, into that which is” (Plato 54). Poetry, in this medium generates itself in all possible ways and therefore it corresponds to the autopoiesis of human being and society. Beyond all the abstraction the concept of poetry has received here and in its history, the association in and with language and the outcome of or the direction towards it remain the essential criterion differentiating it from other forms of creation⎯language in all its microto macrological complexity. In other words: in poetry all kinds of things that happen within and in relation to language can be touched upon in spirals of reflexivity. But with this we have already formulated the principle of potentiality. Poetic reflexivity continues being fluid and open, if nothing else, because it sensitively adapts to linguistic evolution⎯for example in the area of information technology. Potential...

Resumo: O presente artigo pretende investigar as diferentes adaptações de um poema que Herberto Helder extirpou do conjunto de sua obra depois de assistir, durante sua estadia na África nos anos 60, a um curta-metragem baseado em seu texto. Ainda que a referência do poeta ao poema e à sua exclusão se restrinja à nota “(magia)”, em Photomaton & vox, o poema pode ser considerado um dos mais visuais e inquietantes de Herberto Helder, conforme é possível verificar em uma gravação em disco narrada pelo próprio poeta e por um curta-metragem mais recente disponível na internet, produzido pelo grupo O Dizedor. Partindo da premissa do próprio poeta de que “todo poema é um filme”, abordamos o poema original, publicado em 1968 no livro Apresentação do rosto, e procuramos demonstrar suas respectivas adaptações em áudio e vídeo e a outros textos de Herberto Helder afim de promover associações intermidiais, sobretudo entre a pintura e o cinema enquanto meios que permitem “ver” a poesia. Procuramo...