Book (monograph)

The book includes essays, manifestoes, articles, and several documents in art, literature, and communication published by the artist throughout the 1980s.In Portuguese.Includes artist's biographical note.

In "Digital Poetry: Theory, History, Anthologies," Jorge Luiz Antonio presents a panorama of digital poetry history, from its origins, in 1959, until our days with the most advanced and creative innovations. The author shows how the resources of computer science, apparently cool and exact, can give new life to the universe of poetry when taking their producers and appreciators to the other artistic directions inside digital culture. For Jorge Luiz Antonio his Digital Poetry: Theory, History, Anthologies is a book that "studies a type of contemporary poetry in its relationship with the arts, design and computational technology, which is a continuation and an unfolding of avant-garde, concrete, visual, and experimental poetry". According to the Portuguese poet E.M. de Melo e Castro, the work has "clearly the intention and the author's accomplishment of a discussion about the reasons that can be invoked for the study of the transformations that the use of the technologies is already causing in the concept of poetry." (Source: author)

The book examines the way digital technology is forcing a complete rethink of creative priorities for artists in the twenty first century. Written from an artist's perspective, the author has had the cooperation of many important practitioners in digital arts in countries across the world. The book is written in an accessible style and alongside examples of work offers practical know-how that will enable to reader to begin using some of the methods described for themselves.The Fundamentals of Digital Art has six sections and each of these takes a specific aspect of the subject.Historical perspectivesDynamic “live” artThe use of data sources in artThe place of programming languagesNetwork considerationsHybrid practice and the blurring of specialist boundaries.176 Pages with 150 colour illustrations

Source: book presentation on accompanying website

In the last decades a new type of literary text has appeared, written for screen and not paper. Aside from written words the text uses modalities such as pictures, verbal language, sound, music and movement, and they involve the reader and perhaps also the computer in text creation through organizing principles such as hypertext and cybertext. This book presents an overview of digital literature with special focus on Scandinavian examples, and discusses how digital literature gives a picture of our time, and challenges our concept of literature. Some questions in the book: * What happens when literary text must be read on a screen? * Can literature generated by a computer be art? * How can social media influence literature? This book is relevant for all who work with, or study, literature and transmission of literture, for example students and teachers in various literature and media subjects.

In this groundbreaking book, Franco Moretti argues that literature scholars should stop reading books and start counting, graphing, and mapping them instead. In place of the traditionally selective literary canon of a few hundred texts, Moretti offers charts, maps and time lines, developing the idea of “distant reading” into a full-blown experiment in literary historiography, in which the canon disappears into the larger literary system. Charting entire genres—the epistolary, the gothic, and the historical novel—as well as the literary output of countries such as Japan, Italy, Spain, and Nigeria, he shows how literary history looks significantly different from what is commonly supposed and how the concept of aesthetic form can be radically redefined.

(Source: Verso online catalog.)

The act of creation requires us to remix existing cultural content and yet recent sweeping changes to copyright laws have criminalized the creative act as a violation of corporate rights in a commodified world. Copyright was originally designed to protect publishers, not authors, and has now gained a stranglehold on our ability to transport, read, write, teach and publish digital materials.

Contrasting Western models with issues of piracy as practiced in Asia, Digital Prohibition explores the concept of authorship as a capitalist institution and posits the Marxist idea of the multitude (à la Antonio Negri and Michael Hardt, and Paulo Virno) as a new collaborative model for creation in the digital age. Looking at how digital culture has transformed unitary authorship from its book-bound parameters into a collective and dispersed endeavor, Dr. Guertin examines process-based forms as diverse as blogs, Facebook, Twitter, performance art, immersive environments, smart mobs, hacktivism, tactical media, machinima, generative computer games (like Spore and The Sims) and augmented reality.

(Source: Continuum online catalog)

What is conceptual writing, how does it differ from Conceptual Art, what are some of the dominant forms of conceptualism,where does an impure or hybrid conceptualism fit in, what about the baroque, what about the prosody of procedure, what are the links between appropriation and conceptual writing, how does conceptual writing rely on a new way of reading, a “thinkership” that can shift the focus away from the text and onto the concept, what is the relationship between conceptual writing and technology or information culture, and why has this tendency taken hold in the poetry community now?

What follows, then, is a collection of notes, aphorisms, quotes and inquiries on conceptual writing. We have co-authored this text through correspondence, shared reading interests, and similar explorations. Notes on Conceptualisms is far from a definitive text, and much closer to a primer, a purposefully incomplete starting place, where readers, hopefully, can enter so as to participate in the shaping of these ideas.

(Source: Ugly Duckling Presse)