This is the book of abstracts and catalogs of ELO 2017: Affiliations, Communities, Translations. It includes abstracts to all workshops, roundtable discussions, lightning talks, research papers and panels, readings, performances and screenings, and exhibitions that are part of ELO 2017 conference and festival at UFP and other venues in Porto, Portugal.
For more information, see the individual elements of the programme.
From January 19, 2016 through April 21, 2016, The Stedman Gallery will host an electronic literature exhibition entitled “Electronic Literature: A Matter of Bits.” The exhibition is sponsored by the Digital Studies Center and was curated by Director Jim Brown and Associate Director Robert Emmons.
Since at least the 1970s, authors, artists, and computer programmers have been exploring the literary potentials of digital computing. The Electronic Literature Organization (ELO) describes electronic literature as having “important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.” Much of this work might strike us as ephemeral or lacking the same physical materiality as print-based literature, but writers, artists, scholars, and critics have continued to question this commonplace. Silicon and bits are no doubt different from print and ink, but the “Matter of Bits” exhibition will demonstrate how electronic literature relies on any number of materialities for its existence. Featuring work from around the world, this exhibition displays works of electronic literature on a range of devices, from a Commodore 64 to a Microsoft Kinect to an Oculus Rift Virtual Reality headset.
In addition to raising these important questions about materiality, this exhibition will also host the launch of the Electronic Literature Collection, Volume 3. Published by the Electronic Literature Organization, this collection gathers together historical and contemporary works of electronic literature from around the world. “A Matter of Bits” will feature a number of works from this brand new collection, works that push us to consider how electronic literature helps us think differently about literature in the digital world.
(Source: https://digitalstudies.camden.rutgers.edu/electronic-literature-a-matte…)
“The Emergence of Electronic Literature” exhibit includes objects and artifacts, books, computers and software, posters and ephemera documenting the rise of the field of electronic literature over the past four decades. Electronic literature includes literary works that take advantage of the context of the computer and the contemporary networked environment. This broad category of digital work includes genres such as hypertext fiction and poetry, kinetic poetry, computer art installations with literary aspects, interactive fiction, novels that take the form of emails, SMS messages, or blogs, poems and stories that are generated by computers, network-based collaborative writing projects, and literary performances online that develop new ways of writing. The field is essentially focused on potentially transformative uses of the computer to develop new literary genres, and the experiments that contemporary writers and artists are conducting within the new communications paradigm.
(Source: Introduction to the exhbition catalogue)
Jamais conheci um intelectual tão generoso como ele. Erthos Albino de Souza (1932-2000). Em ERRÂNCIAS, seu livro de memórias, prosa única, semiótico-futurista, publicado no ano em que Erthos falecera, Décio Pignatari deu-nos dele uma significativa e emocionante memorabilia. Carlos Ávila conseguiu arrancar-lhe uma rara entrevista, em 1983, e organizou uma primeira bibliografia de seus trabalhos, que veio a ser acrescida ao estudo “O engenheiro da poesia”, incluído no livro POESIA PENSADA (2004), que Carlos dedicou ao poeta mineiro-baiano. Faltava preencher o branco da obra desse estranho personagem que nos fascinou a todos, um albino “livro-livre” que esta exposição começa a preencher.
Catalog of the Festival @rt Outsiders on Brazilian digital art held Sept. 28 to Oct. 16, 2005 at the Maison Européenes de la Photographie, Paris.
Ce numéro 5 de la revue Anomalie_digital arts # 5 intitulé " : // brasil " est édité en partenariat avec le festival @rt outsiders 2005 / Maison Européenne de la Photographie. Il présente l'exposition du festival et " l'art des nouveaux médias " au Brésil. Cet ouvrage aborde dans une perspective historique les pratiques technologiques contemporaines qui animent la scène artistique brésilienne. Des expériences d'art cinétique d'Abraham Palatnik aux créations sensorielles d'Hélio Oiticica et de Lygia Clark, des poèmes holographiques d'Eduardo Kac aux créations numériques les plus récentes, il nous dévoile toute la multiplicité de la création actuelle, ce " mélange de sensualité tropicale et de rigueur constructiviste " dont parle Kac .
Catalog published by Oi Futuro featuring printed stills of installations, projections, and LCD, computer, and electronic panels compiled during the exhibit which took place in Rio de Janeiro in 2007. The catalog also includes critical essays by the three curators, Friedrich Block, André Vallias and Adolfo Montejo, as well as scholarly contributions by Simon Biggs, Augusto de Campos and Florian Cramer.
You can’t tell a story without a beginning. One beginning for the (hi)story of our “poiesis”– exhibition is another exhibition. “p0es1e. digitale dichtkunst” took place in the East-German town of Annaberg-Buchholz in 1992. On the initiative of André Vallias, we presented an international selection of language art, for the first time, which conceptually works with digital technology: computer-graphic poems by Silvestre Pestana, Fritz Lichtenauer, and André Vallias, digital video poetry by Augusto de Campos, Richard Kostelanetz, and Arnaldo Antunes, code and sound poetry by Friedrich W. Block, holopoems by Eduardo Kac, and interactive diagrams by Jim Rosenberg.
A great part of texts that permeate contemporary life are almost invariably not seen by human eyes. They are texts made for machines to read. Texts that record information, from the minuscule “pictorial element” (PIXEL), which form the mosaics that shine on the screens of monitors and electronic panels, to the complex set of instructions and procedures that allow us to generate and manipulate information (PROGRAM). The exhibition asks itself: what does the poet (“he-that-makes”, from the Greek POIEIN = to make, to produce) do in a context where frontiers between letters and numbers, images and sounds, etceteras and etceteras, are increasingly porous?
This is an artists' presentation of the project R3/\/\1X\/\/0RX (remixworx) as a case study for Remediating the Social Conference.
R3/\/\1X\/\/0RX, the blog, began in November 2006 as a collaborative space for remixing digital art, visual poetry, e-poetry, playable media, animation, photography, music and texts. Since then it has grown to include more than 500 individual works of media, many strewn about in comment areas. Where possible, each new piece is remixed, literally or conceptually, from others on the blog and linked to the appropriate page(s). New work is welcome too because R3/\/\1X\/\/0RX needs to be fed. Source material is made available and all media is freely given to be remixed. Thus, the project has no single author.
In the past decade there has been a significant uptake of new forms of storytelling in a multimedia digital communication culture (Alexander, 2011; Page, 2010; Wardrip-Fruin & Harrigan, 2004; 2009; 2010). The examples reported in this paper both provide new opportunities for schooling to offer children opportunities for critical understanding and participatory capacity development in this shift in the cultures of the new media age. A number of studies have recognised that schooling has some way to go to offer students the kinds of practices with new media which they are frequently engaged in during their out of school activities (Chandler-Olcott & Mahar, 2003; Lankshear & Knobel, 2004; 2006; Thomas, 2007). Both examples are discussed in light of demonstrating how a technology enhanced, new media infused, reconceptualisation of English teaching can prepare children for their roles as both creators and consumers in participatory interactive fictional narratives for the future.
This paper seeks to broaden the conceptual field of e-literary studies by exploring the social and economic context that shapes e-literature as an emerging field of textual practice in new media. It is also an attempt to analyse the current positioning of e-literature in the broader field of algorithmic culture and to explore its interactions with new media art. Our research is driven by the idea that e-literature and its institutions might also be explained by applying some key concepts taken from the social sciences (including economics). E-literary text is viewed as a social event: It needs the presence of the audience, and the process of its creation is embedded in its social context.