Invitación: I ♥︎ E-Poetry en la Segunda Cumbre Internacional Los Padres de Ahora

iloveepoetrycumbre

I ♥︎ E-Poetry va para la Segunda Cumbre Internacional Los Padres de Ahora, la cual comenzará el lunes 16 de mayo de 2016.

Mi ponencia “Los Niños de Ahora y la Literatura Electrónica: Preparación para el Siglo 21” será transmitida el martes 17 de mayo a las 12:00 pm (ET). A continuación el video promocional para mi ponencia y la propuesta.

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Ejemplos de Literatura Electrónica

iloveepoetrysquarelogo.jpgLa literatura electrónica tiene muchas modalidades y géneros desarrollados durante su historial de más de 65 años. Aquí hay algunos ejemplos de obras que les mostrarán algo del potencial de este tipo de literatura. ¿Qué es la literatura electrónica? Lea una definición detallada en inglés, o una definición breve en español.

La palabra en movimiento:

  • Seattle Drift – Este poema desea ser liberado de las reglas de la página que lo disciplinan y obligan a ser tradicional.
  • Bembo’s Zoo – Visita un zoológico donde las palabras se transforman en animales.
  • Strings – Palabras en cursivo se estiran y converten en otras palabras para formar poemas divertidos.
  • Word Crimes – Un video lleno de palabras que bailan al compás de una parodia de una canción pegajosa.

Experiencias cinemáticas:

  • Bust Down the Doors! – Una escena violenta descrita una y otra vez nos sorprende con sus cambios de perspectivas.
  • Project for Tachistoscope – Esta obra hipnótica narra la historia de un hoyo sin fondo en medio de los Estados Unidos.

Cómics interactivos:

  • A Duck Has An Adventure – Este cómic te permite explorar muchas historias alternas en la vida y aventuras de un pato.
  • Hobo Lobo of Hamelin – Este cómic presenta la historia del Flautista de Hamelin, pero con un lobo vagabundo y un alcalde sicótico.

Juegos Literarios:

  • The Flat – Tienes dos minutos para descubrir qué sucedió en este apartamento antes de que algo aterrador venga por ti.
  • Game, Game, Game and again Game – Un divertido juego de plataformas en el cual atraviesas espacios locos y poéticos.

Obras Generadas:

Robots Artísticos en Twitter:

  • Glitch [Meta] – Las ocurrencias tuiteadas por este gato provienen de comentarios que la gente hace acerca de sus gatos en Twitter.
  • HaikuD2 – Este robot detecta tuits que se puedan cortar en la forma de un haiku (poema de 5, 7, 5 sílabas) y los revela como poemas.

Obras Multimedios:

  • Memory – Este divertido poema por un poeta boricua está escrito con memes y sobre memes.
  • When I Was President – Este presidente dictatorial toma medidas absurdas y absurdamente efectivas durante su corta presidencia.
  • Nio – Esta obra musical y poética es una herramienta para jugar con sonidos, nuevas letras, y frases musicales.

Mensaje del Editor: Bienvenidos a I ♥ E-Poetry

Dr. Leonardo Flores, Editor
Dr. Leonardo Flores, creador y editor

Les doy una cordial bienvenida a I ♥ E-Poetry.

¿Qué es I ♥ E-Poetry?

Este proyecto esta diseñado como un recurso enciclopédico sobre poesía electrónica, con entradas concisas que proveen contextos poéticos, tecnológicos y teóricos, lecturas minuciosas de los poemas y algunas estrategias para los lectores poder enfocarse en el trabajo. La meta es ampliar la audiencia de literatura electrónica más allá del mundo académico. Para poder extender esta posible audiencia, el blog transmite su contenido a través de FacebookTwitter y Pinterest. Este recurso está escrito en inglés, pero pronto estaremos traduciéndolo al español.

¿Qué es la literatura electrónica?

A diferencia de la literatura tradicional, la cual es escrita para ser publicada como tinta sobre papel, la literatura electrónica fue diseñada para las tecnologías digitales. La palabra digital puede ser programada para autogenerarse, moverse, responder a acciones del lector, cambiar al pasar el tiempo y mucho más. El ejemplo que pueden ver es uno de los divertidos Anipoemas de Ana María Uribe.

En I ♥ E-Poetry podrán descubrir más de 675 obras, organizadas en colecciones y recursos temáticos, como son la literatura digital infantil, los robots literarios y los videojuegos literarios. Exploren, disfruten y compartan las riquezas que yo y un equipo de contribuyentes hemos reseñado.

Les invito a que lean una entrevista publicada en la Revista 404 publicada por el Centro de Cultura Digital en México, o mis reseñas de Cinco piezas de poesía digital por Jim Andrews, traducciones de artículos publicados originalmente aquí.

Y si desean con0cer más acerca de mi labor académica e investigación, visiten mi blog: leonardoflores.net.

April is International E-Poetry Month!

iepoetrymonthlogo

During the month of April, the USA celebrates National Poetry Month, a literary celebration inaugurated by the Academy of American Poets in 1996. To join the celebrations, the Electronic Literature Organization and I ♥ E-Poetry will be publishing a calendar (below) to highlight e-poetry performance and publication events from around the world.

The ELC3 Bot will be featuring 54 works of e-poetry published in the Electronic Literature Collection, Volume 3.

Don’t know what e-poetry is? Read my definition.

The calendar below will be updated regularly during the month of April. To add your events, publications, performances, etc to the calendar, please contact Leonardo Flores at leonardo.flores@upr.edu.

CFP: Reading The Electronic Literature Collection, Volume 3

elc3

The Electronic Literature Collection, Volume 3 (ELC3) is now available online at http://collection.eliterature.org/3. This most recent volume published by the Electronic Literature Organization contains 114 works of electronic literature, from 27 countries, and in 13 languages. Read more about this important collection here.

I ♥︎ E-Poetry invites the community to submit readings of works of electronic literature published in the ELC3. The guidelines are as follows:.

  • Follow the established submission guidelines.
  • Please make sure the work(s) haven’t been reviewed before in I ♥︎ E-Poetry.
  • Contact me with a brief proposal of the work(s) you wish to review.
Categories CFP

I ♥ E-Poetry visita la Feria Internacional del Libro Eugenio María de Hostos

copy-of-magna-feria-internacional-9

El sábado 31 de enero de 2015 I ♥ E-Poetry estará presente en la Feria Internacional del Libro Eugenio María de Hostos. Visita nuestra mesa para demonstraciones de literatura y poesía digital, un nuevo género literario que explora el potencial expresivo del lenguaje en ambientes digitales. He aquí algunos ejemplos de literatura digital.

¿Qué es I ♥ E-Poetry?

Este proyecto esta disenado como un recurso enciclopédico sobre e-poesia, con entradas concisas que proveen contextos poéticos, tecnológicos y teóricos, lecturas minuciosas de los poemas y algunas estrategias para los lectores poder enfocarse en el trabajo. La meta es ampliar la audiencia de literatura electrónica, tanto dentro como fuera del mundo académico. Para poder extender esta posible audiencia, el blog transmite su contenido mediante FacebookTwitter y Pinterest.

La palabra en movimiento:

  • Seattle Drift – Este poema desea ser liberado de las reglas de la página que lo disciplinan y obligan a ser tradicional.
  • Bembo’s Zoo – Visita un zoológico donde las palabras se transforman en animales.
  • Strings – Palabras en cursivo se estiran y converten en otras palabras para formar poemas divertidos.
  • Word Crimes – Un video lleno de palabras que bailan al compás de una parodia de una canción pegajosa.

Experiencias cinemáticas:

  • Bust Down the Doors! – Una escena violenta descrita una y otra vez nos sorprende con sus cambios de perspectivas.
  • Project for Tachistoscope – Esta obra hipnótica narra la historia de un hoyo sin fondo en medio de los Estados Unidos.

Cómics interactivos:

  • A Duck Has An Adventure – Este cómic te permite explorar muchas historias alternas en la vida y aventuras de un pato.
  • Hobo Lobo of Hamelin – Este cómic presenta la historia del Flautista de Hamelin, pero con un lobo vagabundo y un alcalde sicótico.

Juegos Literarios:

  • The Flat – Tienes dos minutos para descubrir qué sucedió en este apartamento antes de que algo aterrador venga por ti.
  • Game, Game, Game and again Game – Un divertido juego de plataformas en el cual atraviesas espacios locos y poéticos.

Obras Generadas:

Robots Artísticos en Twitter:

  • Glitch [Meta] – Las ocurrencias tuiteadas por este gato provienen de comentarios que la gente hace acerca de sus gatos en Twitter.
  • HaikuD2 – Este robot detecta tuits que se puedan cortar en la forma de un haiku (poema de 5, 7, 5 sílabas) y los revela como poemas.

Obras Multimedios:

  • Memory – Este divertido poema por un poeta boricua está escrito con memes y sobre memes.
  • When I Was President – Este presidente dictatorial toma medidas absurdas y absurdamente efectivas durante su corta presidencia.
  • Nio – Esta obra musical y poética es una herramienta para jugar con sonidos, nuevas letras, y frases musicales.

“Poemita” by Eduardo Navas

Open 'Poemita' by Eduardo Navas
Open ‘Poemita‘ by Eduardo Navas

Poemita by Eduardo Navas is an online collection of micropoems published on the Twitter platform which Navas began in January 2010, and which he has continued publishing up to the present day. Navas locates Poemita within his broader portfolio of projects that he has developed with ‘random brief statements’ (http://navasse.net/poemita/), and each tweet constitutes an individual poem, based around keywords that Navas has brainstormed.

Poemita can be classified within the growing genre of Twitter poetry, of which there are now hundreds of examples worldwide, including Canadian author Jason Camlot’s tickertext1 and tickertext2 (2010), the collaborative poetry project using Twitter by Australian author Gavin Heaton, TwitterPoetry (2007-), and the Twitter Poetry competition organized by Marsha Berry and Omega Goodwin in 2009. In these and other examples, the formal aspects of Twitter – in particular, the restriction to a maximum of 140 characters – is a central feature. Sharing certain features with the Japanese tradition of the haiku –and indeed, with the neologism twaiku sometimes being used to describe this type of poetry – Twitter poetry sees the formal restriction to 140 characters as a productive, creative one, leading to the possibility of capturing moments or images with a particular intensity.

Although each of the tweets within Navas’s Poemita are individual micropoems in their own right, when reading them in conjunction a shared set of thematics and concerns emerge. The micropoems all deal with contemporary society and forms of expression. Some poems comment on new media technologies themselves; others lend themselves to considerations of the poetic medium; still others make implicitly political statements related to digital content.

Frequent within these micropoems is commentary on new media technologies themselves. Examples here can be seen in the tweet of 15 August 2012 that reads:

Here, the brevity of the utterances means that greater focus is given to the adjective and noun with which the poem begins; the fact that the noun and its qualifying adjective are pre-posed, in non-standard syntax, means that our attention is drawn to ‘instant gratification’ as the central image of this micropoem. This micropoem is thus a critique of the instant celebrity culture promoted by social media, and the increasing narcissism that constant updates, via platforms such as Twitter and Facebook, encourages. Yet at the same time it is, of course, a metatextual poem, since the writing of ‘aphoristic fragments’ is exactly what Poemita undertakes: the micropoem thus engages in a critique of its own medium, as we see in many of Navas’s other works.

We are, thus, not allowed to sit back and enjoy as we read Poemita; instead, we are encouraged to question our own stance as users of social media as we engage in our reading.

 

“NRA Tally (@NRA_Tally)” by Mark Sample

Tweets Following Followers 159 0 24 NRA Tally @NRA_Tally Keeping score of the NRA's greatest hits. Fairfax, Virginia everyadage Kathi Inman Berens Brett O'Connor Alex Gil Followed by everyadage, Kathi Inman Berens, Brett O'Connor and 2 others. NRA Tally ‏@NRA_Tally 38m 30 postal workers killed in San Francisco with a AR-15 assault rifle. The NRA steps up lobbying efforts. Details NRA Tally ‏@NRA_Tally 4h 22 restaurant diners murdered in Jacksonville with a 10mm Glock. The NRA reports a fivefold increase in membership.
Open “NRA Tally (@NRA_Tally)” by Mark Sample

Created in the wake of a mass shooting event in Isla Vista, California, this bot takes aim at the National Rifle Association and the rhetorical strategies it uses to protect the industry and gun culture it lobbies for. He accompanied it with a manifesto titled “A protest bot is a bot so specific you can’t mistake it for bullshit: A call for bots of conviction” in which he invites the creation of bots which are “topical, data-based, cumulative, and oppositional” (here’s an updated version). He also explains how his bot @NRA_Tally meets these characteristics and goes into great detail on the data sources that inform the bot’s generation of murderous hypothetical scenarios, such as this one:

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“No Way to Prevent This” by The Onion staff writers

Open "'No Way to Prevent This' Says Only Nation Where This Regularly Happens" by The Onion
Open “No Way to Prevent This” by The Onion staff writers

This short article written by the staff writers of the satirical newspaper The Onion, was published in response to a mass shooting in Roseburg, Oregon on October 1, 2015. Published on the same day of the event, the brief article appears in the News in Brief portion of the online newspaper, by itself an ironic counterpoint to what made headlines and got live coverage in other news media sites. The article’s placement and brevity are only the beginning of the irony, which deepens as it offers some basic factual details about the shooting, a vox populi quote in which someone expresses sadness and powerlessness to make any change, and some statistical data on how regularly this happens in the United States of America. All by itself, the article satirizes those who cannot conceive of gun control as an option while using irony to encourage Americans to take action.

But that is only a portion of a larger rhetorical strategy based on computational logic.

Read more…

“Gabriella infinita” by Jaime Alejandro Rodríguez

Open "Gabriella infinita" by Jaime Alejandro Rodríguez
Open “Gabriella infinita” by Jaime Alejandro Rodríguez

Gabriella infinita (1999–) is a hypermedia narrative by Colombian author Jaime Alejandro Rodríguez. The narrative is presented via a rich array of lexia, images, and audio files, and we are not provided with established markers such a contents list or page numbers which would normally guide the reader through the conventional print novel. Instead, links to the various lexia and sound files are hidden in the visuals, and it is only through exploring the interface and testing out possible entry routes that the reader/user pieces together the narrative.

A Lecturer at the Universidad Javeriana in Bogotá, Rodríguez is well-known for his theorisations on digital narrative and hypertext (see his bibliography). He is also arguably the leading hypertext author in Colombia and his Gabriella infinita, as well as his later Golpe de gracia (2006), have won him a series of awards and nominations, and put him at the forefront of e-lit in Colombia.

"Gabriella infinita" opening image
“Gabriella infinita” opening image

The plot of Gabriella infinita is clearly set in Colombia’s capital, Bogota, with references to immediately identifiable places within the city in several of the lexia. Similarly, the opening image which the reader sees before entering the narrative displays the landmarks of the Monserrate hill, and the Cerro de Guadalupe with its famous statue of La Virgen de Guadalupe appear behind the sky-scrapers of the Centro Internacional. Yet this is a futuristic and dystopian Bogotá, in which the cityscape is in a state of devastation and destruction.

Set in this identifiably Bogotano backdrop is the story of Gabriella, who searches for the missing Federico, and we follow her through the various lexia, images, and audio files as she attempts to piece together clues as to his disappearance.

Yet, more than just her story, what Rodríguez weaves for us is the story of our own encounter with hypermedia narrative. Gabriella’s sensations and experience, as she searches for Federico and tries to make sense of the scraps of evidence that she finds, stand for the experience of the reader of hypertext narratives. For instance, Gabriella’s perusal of Federico’s bookshelves as she attempts to make an order out of the apparent disorder in which the books are arranged is a clear metaphor for the work of the reader of hypertext narrative, constructing an order from the dispersed lexia. Or her examining of the loose sheets of newspaper strewn on the floor of Federico’s apartment, and finding that “al ordenarlas, le han revelado relaciones insospechadas” [‘when she put them together, they revealed unexpected connections to her’] is, again, an image of the reader of hypertext fiction creating his/her own order from the dispersed links, with the primacy on the reader, not the writer, to establish these ‘unexpected connections’.

But does Gabriella ever succeed in her quest? And do we, as reader-users of hypertext fiction, ever gain full control of the narrative we are navigating?

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