The paper describes "an approach" to the design of learning environments that builds on the educational properties of games, but deeply grounds them within a theory of learning appropriate for an age marked by the power of new technologies.
(Source: http://www.worldcat.org/title/video-games-and-the-future-of-learning/oc…)
Whereas schools largely sequester students
from one another and from the outside world,
games bring players together — competitively and
cooperatively — in the virtual world of the game
and in the social community of its players.
Herberto Helder died. Helder is one of the most consistent and innovative Portuguese poets of the second half of the 20th century. Even if his later œuvre has been marked by a traditional experimentalist reworking of crafted language, whose poiesis engages with a very idiosyncratic vocabulary, one should not forget Helder’s eclectic trajectory. Having been influenced by, among other movements, Surrealism and international avant-garde experimentalism, Herberto Helder was, firstly together with António Aragão (1964), and secondly with Aragão and E. M. de Melo e Castro (1966), the editor of two important anthologies or cadernos (chapbooks), Poesia Experimental 1 [Experimental Poetry 1] and Poesia Experimental 2 [Experimental Poetry 2]. Both these anthologies opened up most of the major pathways of literary and artistic experimentalism in the 1960s, from which the PO.EX (Experimental POetry) movement emerged. Several genres, formal and thematic threads were originally tried out in these two anthologies and further work of the movement, namely concrete and visual poetry, ‘film poetry,’ sound poetry, ‘object-poetry,’ ‘poetic action’ and happening.
(Source: Author's introduction)
Herberto Helder morreu. Helder é um dos poetas portugueses mais consistentes e inovadores da segunda metade do século vinte. Ainda que a sua obra mais recente tenha sido marcada por um trabalho de reformulação da linguagem que podemos considerar como um experimentalismo tradicionalista, cuja poiesis se empenha e se alicerça num vocabulário idiossincrático, não podemos esquecer a trajectória ecléctica de Helder. Tendo sido influenciado, entre outros, pelo surrealismo e pelo experimentalismo vanguardista internacional, Herberto Helder foi, primeiro com António Aragão (1964), e depois com Aragão e E. M. de Melo e Castro (1966), editor de dois importantes cadernos antológicos, Poesia Experimental 1e Poesia Experimental 2. Os cadernos desencadearam a maior parte dos principais caminhos do experimentalismo literário e artístico dos anos 1960, a partir dos quais o movimento da PO.EX (POesia.EXperimental) emergiu. Diversos géneros, incluindo novas estruturas e temas, foram originalmente testados nos dois cadernos antológicos e no restante trabalho do movimento, como é o caso da poesia concreta e visual, “poesia fílmica”, poesia sonora, “poesia-objecto”, “acção poética” e happening.
(Fonte: Introdução do Autor)
Herberto Helder died. Helder is one of the most consistent and innovative Portuguese poets of the second half of the 20th century. Even if his later œuvre has been marked by a traditional experimentalist reworking of crafted language, whose poiesis engages with a very idiosyncratic vocabulary, one should not forget Helder’s eclectic trajectory. Having been influenced by, among other movements, Surrealism and international avant-garde experimentalism, Herberto Helder was, firstly together with António Aragão (1964), and secondly with Aragão and E. M. de Melo e Castro (1966), the editor of two important anthologies or cadernos (chapbooks), Poesia Experimental 1 [Experimental Poetry 1] and Poesia Experimental 2 [Experimental Poetry 2]. Both these anthologies opened up most of the major pathways of literary and artistic experimentalism in the 1960s, from which the PO.EX (Experimental POetry) movement emerged. Several genres, formal and thematic threads were originally tried out in these two anthologies and further work of the movement, namely concrete and visual poetry, ‘film poetry,’ sound poetry, ‘object-poetry,’ ‘poetic action’ and happening.
(Source: Author's introduction)
In 1962, MIT scientist Steve Russell presented one of the first videogames in history: Spacewar! in which two starships maneuvered around a star and tried to destroy each other. A year earlier, Raymond Queneau had published Cent mille milliards de poèmes, a potential literature book consisting of ten sonnets printed onto cards, with each line written on a separate strip, offering readers 100 trillions of possible combinations.
At first glance, the connection between these two milestones from worlds as different as literature and computer science would seem to be remote, but they are actually the start of a convergence of experiences and interests that have radically changed the way we read and write stories.
The sixties marked the start of a series of experiments in both literature and computing that mutally influenced each other and challenged the narrative, physical and conceptual boundaries of literature. This text looks at some of these connections.
(Source: Author's Introduction)
This article presents the problems and innovative aspects of hypertextual fiction. The hypertextual novel of multiple authors presents the following problem: the notion of the author in postmodern times is dissolved with multiple authorship and copyleft. The time of the discourse is not necessarily lineal, because there is no way to escape from sequentiality in the linguistic sign, but not even in the fragmentary linearity of Rayuela we could approximate to the linearity of the hypertextual story, because it is a polyphonic reality, made of multiple voices. As a consequence, the main characteristic of a novel of these characteristics is polydiachrony.
Este artículo presenta los aspectos innovadores y los problemas de la ficción hipertextual. La novela hipertextual de múltiples autores presenta el siguiente problema: la noción del autor en la época postmoderna se disuelve con la múltiple autoría y el copyleft. El tiempo del discurso no es necesariamente lineal, porque no hay modo de escapar de la secuencialidad en el signo lingüístico, ni siquiera en la linealidad fragmentaria de Rayuela podríamos aproximarnos a la linearidad de un relato hipertextual, poque se trata de una realidad polifónica, de múltiples voces. Como consecuencia, la principal característica de una novela de estas características es la polidiacronía.