Portuguese

The coordinates are deceptive! Doesn’t matter the position of the point, but the force that it produces, the space that it opens in the landscape of the real. This issue zero aims to contribute to a non-cartesian idea of point. Thinking its meaning from four anti-geometrical hypotheses. The point as a beginning (a space opening); the point as force and disturb (maybe creative); the point as network (points that aggregate other points), but most of all, the point as something that takes place, that supervenes in the unquiet landscape of the real, a singularity.

The contributions presented here, depart from those coordinates and destroy them:

// They reflect on the creative nature that the point represents/identifies in the architectonic/artistic production landscape: Álvaro Seiça Neves, Pedro Bismarck.

// They identify strategies of thought/construction that evolve the connective and communicative singularity of the point: Pedro Oliveria, André Sier,

// They understand the role of the critic as (re)production and (re)cognition of creative points: André Tavares, Bernardo Amaral.

In 1921, in L’Esprit Nouveau, we too had gone back to zero in order to try to see things clearly. But if we did go back to zero, it was with the intent not to stay there, but only in order to reestablish our footing. -- Le Corbusier

(Source: punkto 0)

An experimental proposal for the topic of ‘dot’ and the theme ‘singularities’, this essay deals with
different types of dots in architecture, visual arts, literature, music, and contemporary society, not
proposing the concept of dot as the most relevant in art, but, instead, the concept of path. The essay does so by refuting the notion of ‘punctum’ presented by Roland Barthes in La Chambre Claire (1980), and accepting Paul Virilio’s notion of ‘path’ in his seminal oeuvre. In this sense, by constructing an analogy with Euclidean geometry, I subdivide the essay into three nonlinear points, presenting the notions of ‘periphery’ and ‘hyperperiphery’ to better understand a critique of image, art, literature, social media, society, and, therefore, making clear my thesis: the plan.

(Source: Author's Abstract)

In this essay [Digital Art: Pixel, Algorithm, Code, Programming, Data], we reached a theoretical framework that could withstand a hyperdisciplinary analysis and encompass one of the characteristics that both electronic literature and digital art share: the transfer and transformation processes. In order to recognize these processes we used the concept of transduction to perform a theoretical migration capable of supporting these aspects: the transducer function.
Swapping between a critique of textuality and a critique of visuality we analyze two of the most important genres of digital art: net.art and digital installation. Firstly, we investigate the concept of infoduct as a channel of information dissemination in the virtual environment and the characteristics of periphery and discontinuity in digital image, composed by pixels, in opposition to punctum, studium and continuity, key characteristics in analog photographic image, composed by dots, whose concepts were identified and coined by Roland Barthes in La Chambre Claire (1980). Secondly – by focusing on the nomination of the artwork and the relevance of the title in its intelligibility, from the abstract movement until nowadays – we reflect on the use of code as an emerging language, which reveals a new aesthetic sensibility, e.g. the k. series by André Sier. Finally, the third and fourth points develop the analysis of the transducer processes in the works by Pavel Braila, R. Luke DuBois and Sier, considering the aesthetics of data transfer and recreation in mutant works as a common phenomenon to art that uses programmable and networking media. In digital art, the transducer function originates a pictorial, visual and aesthetic transformation, which we observe in SSB, Hard Data, or 32-bit Wind Machine , and erects the artist as a data filter and data miner.
In this investigation, we highlight mechanisms, patterns, languages ​​and common motifs: authorship, user, cybertext, surface, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data.

(Source: Author's Abstract)

In this paper, Philippe Bootz retraces the history and affiliations of electronic poetry in France, emphasizing its tendencies and significant role in the diffusion of "animated poetry." The author focuses on the vanguard of the L.A.I.R.E. group and the magazine Alire, which he and Tibor Papp founded in 1988 and 1989, respectively. This poet and researcher considers that electronic literature also has its own story. This story is an object of debate and positioning within a field of knowledge, particularly French.

(Source: Author's Abstract)

A brief review of Álvaro Seiça's works on the transducer function applied to e-lit and digital art, under the perspective of interdisciplinary studies.

An essay on Carol Ann Duffy's poetry book Rapture (2005) and the current state of lyrical poetry, in particular British poetry, in the age of sms and electronic text. I present a critique to the recurrence of using the metaphor of ‘heart’ as being the center of human emotion, which I consider an impossible image to carry on in the era of brain research and technological human beings.

(Source: Author's Abstract)

Note: The article was firstly published online in 2007, and subsequently reprinted in Ceia, Carlos (ed.) Talent Will Rise: Essays on Contemporary English Literature (6th ed., 2013)

The Portuguese Electronic Literature Collection (PELC) at the ELMCIP KB aims to address and collect the most relevant creative and critical works produced by Portuguese authors in the field of electronic literature during the past forty-five years. The collection also brings together authors, events, organizations, publishers, journals, publications, conferences, performances and exhibitions related to the Portuguese context.

Álvaro Seiça gave a lecture on June 25, 2014, at 3 pm, at the Room Ferreira Lima (6th floor, Faculty of Letters, University of Coimbra), entitled "A Luminous Beam: Reading the Portuguese Electronic Literature Collection." In this lecture Seiça presented the Portuguese Electronic Literature Collection that integrates the ELMCIP database (Electronic Literature as a Model of Creativity and Innovation in Practice, project coordinated by Scott Rettberg). This initiative was organized by the PhD program in Materialities of Literature (FCT Doctoral Program), in collaboration with the Digital Culture Program at the University of Bergen.