Algorritmos: Infopoemas by E. M. de Melo e Castro

"Algorritmos: Infopoemas" (cover) by E. M. de Melo e Castro
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Since 1986, besides videopoetry, E. M. de Melo e Castro worked on a series of experiments with other computer media (suportes informáticos), coined by the author as “infopoesia” [infopoetry], in which he used image editor software. Once more – and this is a fact the analysis by Jorge Luiz Antonio (2001) does not highlight – the prevailing choice of image editors at the expense of word processors reveals the visual affiliation of Castrian poetics. The infopoems’ visual animations acknowledge pixel as the primary unit of meaning, in the perspective of an infopoetic language. Some of the resulting images were published in Finitos Mais Finitos: Ficção/Ficções [Finite Plus Finite: Fiction/Fictions] (1996) and Algorritmos: Infopoemas [Algorythms: Infopoems] (1998), whose initial essay develops “a pixel poetics” and explains the amalgams created in the title. The quest for transgression, which is underlined by the book’s title (1998), is followed by the quest for formal synthesis:

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“Enigma n” and “Seattle Drift” by Jim Andrews: The Cauldron & Net Editions

Screen capture from “Enigma n” and “Seattle Drift” by Jim Andrews: The Cauldron & Net Editions. Title screen displaying 3 geometrical figures, each circled by text, against a black background. Text: "Enigma n, Language and image as objects in a field, Seattle."
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When Jim Andrews published these poems in Cauldron& Net, Volume 1 in 1999, their original DHTML and JavaScript codes were compatible with the two main Web browsers of their time: Netscape Navigator 4 and Internet Explorer 4 (IE). This was during the peak of what is known as the “first browser war” in which IE became the dominant browser in the market. At the time, each browser was implementing code differently, creating code incompatibilities that led to the practice of detecting browsers to redirect readers to different versions of the document, or determining what part of the code was executed in a specific session. Some writers opted to pick a browser and directed readers to view the work on that one, while others sought cross-browser compatibility.

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“Poem by Nari does Windows” by Ted Warnell

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“Strange Possessions” by Todd Sanders

Screen shot from “Strange Possessions” by Todd Sanders. Metal, gray balls as a background. Four photos in the middle of the screen shot: “fire”, “water”, “earth” and air. The fire square has, as its background, a picture of fire: yellow and orange. Water shows blue colors mixed with white to make the appearance of water the letters are yellow in this square, which is “water”. Earth has a gray background and a white and almost gray color on the name. And, lastly, air. Air’s background is turquoise with the word “air” in red.
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“NobodyHere” by Jogchem Niemandsverdriet

Screen capture of  "NobodyHere" by Jogchem Niemandsverdriet. White background holds the black silhouette of a man sitting in front of a personal computer, apparently typing into it. Text on both sides of the image.
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“Simplicity” by Duc Thuan

“Enigma n” by Jim Andrews

“Rice” by geniwate

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“Windsound” by John Cayley

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