Article in a print journal

As of July 2013, the ELMCIP Electronic Literature Knowledge Base includes documentation of more than 2,000 creative works and more than 2,000 articles of critical writing. Many of the records of critical writing include cross-references to the creative works they address. This article presents a preliminary analysis of all of the critical writing-to-creative work cross- references currently documented in the Knowledge Base in the aggregate. By developing static and interactive visualizations of this data, we might begin to see the outlines of an emerging “canon” of electronic literature.

A slightly revised version of this paper was published in 2014 in ebr.

Going beyond the mere employment of new communication technologies in the production of poetic texts, new media poetry integrates characteristics of the new media in the theoretical basis of its poetics. This paper outlines this basis and shows how it affects poetic and verbal conventions, particularly with respect to the constitution of texts and the roles of author and reader, and with regard to its implications for our views on language. The author thus contends that the innovative force of new media poetry lies not in the communicative channels used (e.g., computers, video, holography) per se, but in the exploration of their ramifications for syntactic, semantic and pragmatic aspects of verbal/poetic communication in general. This view is further developed through a discussion of some writing strategies of new media poetry.

(Source: Visible Language)

The article first recalls the historical evolution of computer poetry which, from Théo Lutz (1959) to alire (1989), evolves from experimentation to cultural entity. The emphasis is placed on the French evolution through its main expressions, which are the A.L.A.M.O., the first telematic review Art-Access the Les Immatériaux exhibition and the birth of L.A.I.R.E., a difference of viewpoints, of approaches and of the space given by the authors to computer poetry concerning the arts, the machine and the text. This progressive differentiation of focus questions approaches which were thought to be unchanging, regarding the notions of text, reader and author. This questioning started with the A.L.A.M.O. and progressed with L.A.I.R.E. Its description and the expression of the answers it proposes requires a new critical approach to the notion of text, more anchored in a communication pattern which has been developing since 1993 and whose present state is summed up in the third part. The article ends by demonstrating that the smooth running of alire is the full expression of what these new answers imply.

(Source: Visible Language website)

Based on personal memory and research, this writing focuses Brazilian Concrete Poetry’s
magazines NOIGANDRES and INVENÇÃO, evaluating their importance as media for a new poetic practice.

(source: author)

In this essay I introduce the notion of transducer function in the fields of electronic literature and digital art. Firstly, I survey the transduction concept throughout its history in such domains as physics, genetics, microbiology, biochemistry, physiology, psychology, philosophy, logic and computer science. Secondly, I discuss the relevance of a transduction theory versus the advantage of a transducer function. I migrate the transduction concept into the fields of electronic literature and digital art, showcasing the contexts of application, and several transfer processes and functions. Finally, I apply the transducer function as a theoretical typology and a recognizable system, highlighting some artworks by R. Luke DuBois, André Sier and Scott Rettberg that can be read within this framework. Thus, it means taking into account a set of transfer and conversion processes: information, patterns and data among mechanisms, technologies, themes, creative and theoretical guidelines. In this sense, I develop a critical framework that operates as a method for analyzing and comprehend further digital artworks.

(Source: Author's Abstract)

Disccuses some practical issues involved in teaching new media in literature classroom, focusing on the necessity of teaching literatuer students to consider the language of gaming in the study of new media forms, on teaching collaborative media for the electronic media as a form of writing game, and on considering contemporary computer games in a cultural studies context.