Between the border of Cerbere and Port Bou there is a cliff, a road that goes up and on the other side eventually winds down the road, past a customhouse, above a rock that slips into the sea. What does it mean to know that border, to recognise it, and to know what you forget?
De grens tussen Cerbère en Port Bou bestaat uit een klif, een weg die omhoogslingert en aan de andere kant langs haarspeldbochten neerdaalt, langs het huis van een verlaten douanepost, boven een rots die haast wegglijdt in de zee.
Wat betekent het om de grens te weten, die te kennen, te weten wat je vergeet?
The appearance of new technologies and their exponential growth for several decades has changed our way of understanding knowledge. Although it is already a topic that is part of the contemporary background, it is worth remembering that digital culture and the possibilities of the internet have meant a radical change, only comparable, according to Alejandro Baricco, to the printing revolution.
The incorporation of the network and transmedia resources into the literary environment is fostering new poetics; new forms of textuality that, according to Joan-Elies Adell, go beyond the book and turn the computer or any mobile device into the natural space of the work. Hypertext, interaction, video game ... The very essence of literature is changing. Writers who think of the word in conjunction with HTML code, geolocation, processing or other programming tools. With their creations they come to expel us from our areas of literary comfort.
We are talking about jobs designed for the network, that new agora. We are talking about hypermedia works that, in contrast to orality or printed tradition, investigate within what Ernesto Zapata defines as electronality. We are talking simply about literature in the post-Gutenberg era.
In the 17th century, Leibniz proposed to create an encyclopedia that would bring together all the fields of human knowledge. This led him to be interested in the works of Raimundo Llull, Athanasius Kircher or John Dee and to anticipate the ideas of Vannevar Bush or Ted Nelson by several centuries.The book of the end of the world is also constituted as an encyclopedia, only, in this case, it is an unfinished and open corpus, providing a questioning about the space of identities and differences according to which we distribute, recognize and name our world.Reminiscent of Aloysius Bertrand, Marcel Schwob, or medieval bestiaries, The Book of the End of the World proposes the creation of different possible worlds, autonomous universes, each with its own order, laws, and regularities.The inclusion of hypertext works and the link to the book's site on the Internet emphasize the notions of non-linearity and bifurcation implicit in the conception of the work.
En el siglo XVII, Leibniz propuso crear una enciclopedia que reuniera todos los campos del conocimiento humano. Ésto lo llevó a interesarse por los trabajos de Raimundo Llull, Athanasius Kircher o John Dee y adelantarse en varios siglos a las ideas de Vannevar Bush o Ted Nelson.El libro del fin del mundo se constituye igualmente como una enciclopedia sólo que en este caso se trata de un corpus inacabado y abierto, proporcionando un cuestionamiento acerca del espacio de identidades y diferencias según las cuales distribuimos, reconocemos y nombramos nuestro mundo.Con reminiscencias de Aloysius Bertrand, Marcel Schwob o los bestiarios medievales, El libro del fin del mundo plantea la creación de diferentes mundos posibles, universos autónomos, cada uno con su propio orden, leyes y regularidades.La inclusión de trabajos hipertextuales y el vínculo con el sitio del libro en Internet enfatizan las nociones de no linealidad y bifurcación implícitas en la concepción de la obra.
This innovative reader addresses the social, cultural, political, and educational implications of today’s burgeoning information and communication technologies in substantial critical depth. Using three broad human themes—Constructing Identity, Building Community, and Seeking Knowledge—this brief freshman reader engages students in exciting rhetorical issues, including "Gender Online," "The Global Village," and "Information Overload and New Media." In each case, hopeful and optimistic views are balanced with incisive technology criticism, helping to make cutting-edge social issues intellectually coherent and accessible to your students.
Source: www.amazon.de
This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.
(Source: Abstract ICDMT 2016)
A sea expert interprets the sea and convinces the audience. But the sea doesn’t agree.
(Source: janpeeters.info)
format: Full HD video
aspect ratio: 16:9 (1.77:1)
colour: colour
sound: stereo
runtime: 6 min 0 s (end titles included)
directors: Paul Bogaert & Jan Peeters
text by: Paul Bogaert
poem : ‘What does the sea say?’, unpublished yet.
image by: Jan Peeters
editing: Jan Peeters & Paul Bogaert
A sea expert interprets the sea and convinces the audience. But the sea doesn’t agree.
(Source: janpeeters.info)
format: Full HD video
aspect ratio: 16:9 (1.77:1)
colour: colour
sound: stereo
runtime: 6 min 0 s (end titles included)
directors: Paul Bogaert & Jan Peeters
text by: Paul Bogaert
poem : ‘What does the sea say?’, unpublished yet.
image by: Jan Peeters
editing: Jan Peeters & Paul Bogaert
Up until now, everyone alive on earth was bound to one another through African Eve, our last common ancestor, who 5,000 generations ago passed her genes and language to sons and daughters who did the same as they gradually populated the world. Today, however, Square, Circle and the other inhabitants of Flatland have the opportunity to step outside this lineage. To rearrange the bodies of animals, plants, and even themselves. VAS: An Opera in Flatland is the story of Square’s decision to undergo an operation that will leave him sterile for the good of his wife, Circle, for the good of their daughter, Oval, and for the good of society, including the unborn descendants he will never have. VAS is, in other words, the story of finding one’s identity within the double-helix of language and lineage—and Square’s struggle to see beyond the common pages of ordinary, daily life upon which he is drawn.
Utilizing a wide and historical sweep of representations of the body, from pedigree charts to genetic sequences, this hybrid novel recounts how differing ways of imagining the body generate differing stories of knowledge, power, history, gender, politics, art, and, of course, the literature of who we are. It is the intersection of one tidy family’s life with the broader times in which they live.
VAS will be of interest to anyone concerned with the futures we are now writing into existence.
I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.
(Source: Author's abstract)