Article in a print journal

Non-dated essay referred by Pedro Barbosa (1996: 395) as been photocopied in Leningrad. No more info available so far.

"Infopoesia ou Poesia Informacional" [Infopoetry or Informational Poetry] was published on October 29, 1987, in the Diário de Lisboa, in the supplement “Ler Escrever.”

This benchmark article helped defining the state-of-the-art of “computational poetry,” by exposing the 1960s creative threads in the works by Nanni Balestrini, Herberto Helder, Margaret Masterman and Marc Adrian, and by additionally introducing new Portuguese and Brazilian authors, such as Pedro Barbosa, Silvestre Pestana, Antero de Alda, Erthos Albino de Souza and João Coelho. Furthermore, it disseminated for a general audience the relevance of computational programming in literary creation, by stressing that, for some authors, “a própria programação [é] o acto de criação poética por excelência, sendo o programa um poema” [the very programming (is) the act of poetic creation par excellence, being the program a poem], which facilitates different outputs.

[Source: Álvaro Seiça, "A Luminous Beam: Reading the Portuguese Electronic Literature Collection" (2015)]

First written and published in 1996, the unrevised form of this essay now comes across, in
certain respects, as ancient history – a function of the notorious acceleration of cultural and
media development since the explosive growth of the Web after 1994. And yet, it chiefly
describes a productive engagement with writing in programmable and, latterly, networked
media which dates back, in my own case, to the late 1970s, an all-too-human, rather than
silicon-enhanced, historical context.

(Source: Author's Introduction)

This piece is an attempt to hasten the death of the 'electronic' in 'electronic literature' — to re-cognize it as a dead metaphor — as the prelude to an agonistic meditation on my generation's anticipation of the death of literature itself, with 'the literary,' potentially, waiting in the wings (and published elsewhere, elsewhen, elsehow).

(Source: Author's Abstract)

The application of cybertextual technologies to experimental poetics is the context for this brief exposition of my machine modulated literary work. I invoke theoretical issues of cybertext but these are not extensively explored. Instead, I raise issues crucial to the work described here — the role of (literary) text in cyberspace; silent reading in new visible language media; the confusions of computer as medium; the limitations of link-node hypertext; the shifting relationships between writer, reader and programmer; multi- and non-linear poetics; and the engagement of contemporary poetics with cybertext. The major part of the exposition then focuses on the work itself and certain of its future potentialities, with occasional reference to the more general, theoretical concerns.

(Source: Author's Abstract)

This article proposes a new approach to literary hypertext, which foregrounds the notion of interrupting rather than that of linking. It also claims that, given the dialectic relationship of literature in print and digital-born literature, it may be useful to reread contemporary hypertext in light of a specific type of literature in print that equally foregrounds aspects of segmentation and discontinuity: serialized literature (i.e. texts published in installment form). Finally, it discusses the shift from spatial form to temporal form in postmodern writing as well as the basic difference between segment and fragment.

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 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)