DOCSLIB.ORG

Electronic Poetry. Understanding Poetry in the Digital Environment Jyväskylä: University of Jyväskylä, 2011, 326 P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Electronic Poetry. Understanding Poetry in the Digital Environment Jyväskylä: University of Jyväskylä, 2011, 326 P JYVÄSKYLÄ STUDIES IN HUMANITIES 154 Giovanna Di Rosario Electronic Poetry Understanding Poetry in the Digital Environment JYVÄSKYLÄ STUDIES IN HUMANITIES 154 Giovanna Di Rosario Electronic Poetry Understanding Poetry in the Digital Environment Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston päärakennuksen salissa C4 kesäkuun 3. päivänä 2011 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in university Main building, hall C4, on June 3, 2011 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2011 Electronic Poetry Understanding Poetry in the Digital Environment JYVÄSKYLÄ STUDIES IN HUMANITIES 154 Giovanna Di Rosario Electronic Poetry Understanding Poetry in the Digital Environment UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2011 Editor Raine Koskimaa Department of Art and Culture Studies, University of Jyväskylä Pekka Olsbo, Sini Tuikka Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Paula Kalaja, Department of Languages, University of Jyväskylä Petri Toiviainen, Department of Music, University of Jyväskylä Tarja Nikula, Centre for Applied Language Studies, University of Jyväskylä Raimo Salokangas, Department of Communication, University of Jyväskylä Cover picture: Simmias of Rhodes, The Egg (325BCE ca.) URN:ISBN:978-951-39-4335-6 ISBN 978-951-39-4335-6 (PDF) ISBN 978-951-39-4324-0 (nid.) ISSN 1459-4331 Copyright © 2011 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2011 ABSTRACT Di Rosario, Giovanna Electronic poetry. Understanding poetry in the digital environment Jyväskylä: University of Jyväskylä, 2011, 326 p. (Jyväskylä Studies in Humanities ISSN 1459-4331; 154) ISBN 978-951-39-4324-0 (nid.), 978-951-39-4335-6 (PDF) Diss. This study has as its main research object the new forms of poetry based on informatics and it is located in the fields of critical theory, hermeneutics, semiotics of the text and digital culture. These new forms emerging from the meeting of poetry and informatics are collectively called Digital Poetry. Digital poetry – also referred to as E-poetry, short for electronic poetry – refers to a wide range of approaches to poetry that all have in common the prominent and crucial use of computers or digital technologies and other devices. Digital poetry does not concern itself with the digitalization of printed works, it relates to digital texts. This work studies only electronic poems created to be read on the computer accessible online. It offers the close-readings of 35 e-poems in 5 different languages (English, French, Italian, Portuguese, and Spanish). How does electronic poetry deal with the possibilities uncovered by the new digital medium? A medium that easily allows us to redefine the writing space and the reading time; a medium that allows us to include images and sounds alongside the graphic text, adding also motion and creating new kinds of temporalities; and, finally, that allows the text to be reactive and interactive? The distinction between digital and printed media hides a complex history. A full comprehension of the movement under consideration, as a concept in literature, requires clarification of the historical development from the “movement analogies” in printed literature (innovations in the literary movements and avant-gardes) to the literary innovations (poetic and artistic) in the Internet era. The thesis has been organized around three deeply interconnected approaches: historical, descriptive and analytic. The first approach judges the “novelty” of the phenomenon within a historical context. The descriptive work to be done on the corpus is fundamental in order to establish a sort of typology of e-poetry and, consequently, to be able to start the analytic work. The aim of the study is on the one hand to categorize electronic poems in order to make them more approachable and understandable as objects of study; and on the other it is to provide those who are interested in this new area of study with a sort of critical anthology of electronic poetry. Keywords: digital poetry, poetic language, aesthetics, ICT, web Author’s address Giovanna Di Rosario Department of Art and Culture Studies University of Jyväskylä, Finland Supervisors Raine Koskimaa Department of Art and Culture Studies University of Jyväskylä, Finland Laura Borràs Castanyer Department of Filologia Romànica University of Barcelona, Spain Reviewers Maria Engberg Culture & Communication Group School of Planning and Media Design Blekinge Institute of Technology, Sweden Alexandra Saemmer Laboratoire Paragraphe University of Paris VIII, France Opponent Alexandra Saemmer Laboratoire Paragraphe University of Paris VIII, France TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS INTRODUCTION ........................................................................................................ 11 CHAPTER 1: THE WRITTEN IMAGE: AN EXCURSION ON THE CROSS- CONTAMINATION BETWEEN WRITING AND IMAGES ................................ 19 1. Writing Structure ................................................................................................ 19 1.1. Writing and Drawing .............................................................................. 21 1.2. Language and Writing ............................................................................ 22 2. Western Visual Poetry Tradition ..................................................................... 24 2.1. From Simmias of Rhodes to the “Late Latins” .................................... 26 2.2. Hrabanus Maurus .................................................................................... 28 2.3. The Middle Age ....................................................................................... 29 2.4. The Renaissance ....................................................................................... 31 2.4.1. Francesco Colonna’s Hypnerotomachia Poliphili ...................... 32 2.4.2. Geoffrey Tory’s Champfleury ....................................................... 33 2.4.3. Connotations of Visual Writing during the Renaissance .......... 34 2.5. The 17th and the 18th Centuries ............................................................. 37 3. The 19th Century ................................................................................................ 40 3.1. Mallarmé and a New “Syntax” of Space ............................................... 41 4. Futurism ............................................................................................................. 42 4.1. The Manifesto of Futurism ...................................................................... 43 4.1.1. Destruction of Syntax and Words-in-Freedom ........................... 45 4.2. Cubo-Futurism .......................................................................................... 46 5. Apollinaire and the Calligrams ........................................................................ 47 6. Dada Movement ................................................................................................. 49 6.1. Dada Poetry ............................................................................................... 50 7. Surrealism ............................................................................................................ 51 7.1. Breton’s Manifesto and Automatic Writing .......................................... 52 8. Lettrism ............................................................................................................. 55 9. Fluxus ............................................................................................................. 57 9.1. Fluxus, the Computer and the Internet ................................................. 59 9.2. Fluxus and Mail Art ................................................................................. 60 10. The Visual and Concrete Poetry ...................................................................... 61 11. Sound Poetry ...................................................................................................... 65 12. (The XXI Century:) Digital Poetry ................................................................... 68 12.1. Theo Lutz’s “Stochastic” Poems ............................................................ 69 12.2. OuLiPo ...................................................................................................... 70 12.1.1. Poetic Techniques ......................................................................... 71 12.3. Computer-based Concrete and Visual Poems .................................... 72 12.3.1 Marc Adrian’s Computer Texts ................................................... 73 12.3.2 Harry Polkinhorn’s Bridges of Skin Money ............................... 74 12.4 Videopoetry .............................................................................................. 75 12.4.1 Calligram in the Computer Era: an Example of Video-calligram ..................................................... 76 CHAPTER 2: E-POETRY: HOW TO APPROACH IT? ........................................... 78 1. The challenge of Semiotics: Semiotics of New Media Literacy ................... 80 1.1. The Semiotics of New Media Literacy ................................................... 81 1.2. Semiotics
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils.
    [Show full text]
  • Fractal 3D Magic Free
    FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction.
    [Show full text]
  • Transformations in Sirigu Wall Painting and Fractal Art
    TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977).
    [Show full text]
  • The Implications of Fractal Fluency for Biophilic Architecture
    JBU Manuscript TEMPLATE The Implications of Fractal Fluency for Biophilic Architecture a b b a c b R.P. Taylor, A.W. Juliani, A. J. Bies, C. Boydston, B. Spehar and M.E. Sereno aDepartment of Physics, University of Oregon, Eugene, OR 97403, USA bDepartment of Psychology, University of Oregon, Eugene, OR 97403, USA cSchool of Psychology, UNSW Australia, Sydney, NSW, 2052, Australia Abstract Fractals are prevalent throughout natural scenery. Examples include trees, clouds and coastlines. Their repetition of patterns at different size scales generates a rich visual complexity. Fractals with mid-range complexity are particularly prevalent. Consequently, the ‘fractal fluency’ model of the human visual system states that it has adapted to these mid-range fractals through exposure and can process their visual characteristics with relative ease. We first review examples of fractal art and architecture. Then we review fractal fluency and its optimization of observers’ capabilities, focusing on our recent experiments which have important practical consequences for architectural design. We describe how people can navigate easily through environments featuring mid-range fractals. Viewing these patterns also generates an aesthetic experience accompanied by a reduction in the observer’s physiological stress-levels. These two favorable responses to fractals can be exploited by incorporating these natural patterns into buildings, representing a highly practical example of biophilic design Keywords: Fractals, biophilia, architecture, stress-reduction,
    [Show full text]
  • Guide to Digital Art Specifications
    Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text.
    [Show full text]
  • Catalog INTERNATIONAL
    اﻟﻤﺆﺗﻤﺮ اﻟﻌﺎﻟﻤﻲ اﻟﻌﺸﺮون ﻟﺪﻋﻢ اﻻﺑﺘﻜﺎر ﻓﻲ ﻣﺠﺎل اﻟﻔﻨﻮن واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ The 20th International Symposium on Electronic Art Ras al-Khaimah 25.7833° North 55.9500° East Umm al-Quwain 25.9864° North 55.9400° East Ajman 25.4167° North 55.5000° East Sharjah 25.4333 ° North 55.3833 ° East Fujairah 25.2667° North 56.3333° East Dubai 24.9500° North 55.3333° East Abu Dhabi 24.4667° North 54.3667° East SE ISEA2014 Catalog INTERNATIONAL Under the Patronage of H.E. Sheikha Lubna Bint Khalid Al Qasimi Minister of International Cooperation and Development, President of Zayed University 30 October — 8 November, 2014 SE INTERNATIONAL ISEA2014, where Art, Science, and Technology Come Together vi Richard Wheeler - Dubai On land and in the sea, our forefathers lived and survived in this environment. They were able to do so only because they recognized the need to conserve it, to take from it only what they needed to live, and to preserve it for succeeding generations. Late Sheikh Zayed bin Sultan Al Nahyan viii ZAYED UNIVERSITY Ed unt optur, tet pla dessi dis molore optatiist vendae pro eaqui que doluptae. Num am dis magnimus deliti od estem quam qui si di re aut qui offic tem facca- tiur alicatia veliqui conet labo. Andae expeliam ima doluptatem. Estis sandaepti dolor a quodite mporempe doluptatus. Ustiis et ium haritatur ad quaectaes autemoluptas reiundae endae explaboriae at. Simenis elliquide repe nestotae sincipitat etur sum niminctur molupta tisimpor mossusa piendem ulparch illupicat fugiaep edipsam, conecum eos dio corese- qui sitat et, autatum enimolu ptatur aut autenecus eaqui aut volupiet quas quid qui sandaeptatem sum il in cum sitam re dolupti onsent raeceperion re dolorum inis si consequ assequi quiatur sa nos natat etusam fuga.
    [Show full text]
  • 1 Dalí Museum, Saint Petersburg, Florida
    Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalí Museum Collection, Paintings ” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. • Ades, dawn, Dalí (World of Art), London, Thames and Hudson, 1995. • Dalí’s Optical Illusions, New Heaven and London, Wadsworth Atheneum Museum of Art in association with Yale University Press, 2000. • Dalí, Philadelphia Museum of Art, Rizzoli, 2005. • Anderson, Robert, Salvador Dalí, (Artists in Their Time), New York, Franklin Watts, Inc. Scholastic, (Ages 9-12). • Cook, Theodore Andrea, The Curves of Life, New York, Dover Publications, 1979. • D’Agnese, Joseph, Blockhead, the Life of Fibonacci, New York, henry Holt and Company, 2010. • Dalí, Salvador, The Secret life of Salvador Dalí, New York, Dover publications, 1993. 1 • Diary of a Genius, New York, Creation Publishing Group, 1998. • Fifty Secrets of Magic Craftsmanship, New York, Dover Publications, 1992. • Dalí, Salvador , and Phillipe Halsman, Dalí’s Moustache, New York, Flammarion, 1994. • Elsohn Ross, Michael, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities, Chicago review Press, 2003 (Ages 9-12) • Ghyka, Matila, The Geometry of Art and Life, New York, Dover Publications, 1977. • Gibson, Ian, The Shameful Life of Salvador Dalí, New York, W.W.
    [Show full text]
  • Number 3 2011 Korean Buddhist Art
    NUMBER 3 2011 KOREAN BUDDHIST ART KOREAN ART SOCIETY JOURNAL NUMBER 3 2011 Korean Buddhist Art Publisher and Editor: Robert Turley, President of the Korean Art Society and Korean Art and Antiques CONTENTS About the Authors…………………………………………..………………...…..……...3-6 Publisher’s Greeting…...…………………………….…….………………..……....….....7 The Museum of Korean Buddhist Art by Robert Turley…………………..…..…..8-10 Twenty Selections from the Museum of Korean Buddhist Art by Dae Sung Kwon, Do Kyun Kwon, and Hyung Don Kwon………………….….11-37 Korean Buddhism in the Far East by Henrik Sorensen……………………..…….38-53 Korean Buddhism in East Asian Context by Robert Buswell……………………54-61 Buddhist Art in Korea by Youngsook Pak…………………………………..……...62-66 Image, Iconography and Belief in Early Korean Buddhism by Jonathan Best.67-87 Early Korean Buddhist Sculpture by Lena Kim…………………………………....88-94 The Taenghwa Tradition in Korean Buddhism by Henrik Sorensen…………..95-115 The Sound of Ecstasy and Nectar of Enlightenment by Lauren Deutsch…..116-122 The Korean Buddhist Rite of the Dead: Yeongsan-jae by Theresa Ki-ja Kim123-143 Dado: The Korean Way of Tea by Lauren Deutsch……………………………...144-149 Korean Art Society Events…………………………………………………………..150-154 Korean Art Society Press……………………………………………………………155-162 Bibliography of Korean Buddhism by Kenneth R. Robinson…...…………….163-199 Join the Korean Art Society……………...………….…….……………………...……...200 About the Authors 1 About the Authors All text and photographs contained herein are the property of the individual authors and any duplication without permission of the authors is a violation of applicable laws. ALL RIGHTS RESERVED BY THE INDIVIDUAL AUTHORS. Please click on the links in the bios below to order each author’s publications or to learn more about their activities.
    [Show full text]
  • Proquest Dissertations
    REPROGRAMMING THE LYRIC: A GENRE APPROACH FOR CONTEMPORARY DIGITAL POETRY HOLLY DUPEJ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATIONS AND CULTURE YORK UNIVERSITY, TORONTO, ONTARIO APRIL 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-38769-6 Our file Notre reference ISBN: 978-0-494-38769-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Open Posey Kyle 105Decisiveworks.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMPARATIVE LITERATURE 105 DECISIVE WORKS OF OCCIDENTAL ART BY MICHEL BUTOR (TRANSLATION OF FINAL 50 PAGES) KYLE ANTHONY POSEY SPRING 2019 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Comparative Literature and Art History with honors in Comparative Literature Reviewed and approved* by the following: Dr. Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Honors Advisor/Thesis Supervisor Dr. Christopher Reed Distinguished Professor of English, Visual Culture, and Women’s, Gender, and Sexuality Studies Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This honors thesis is a translation from French to English of the writer Michel Butor’s art historical survey titled 105 Oeuvres Décisives de la Peinture Occidentale. I have translated the final fifty pages, which roughly covers modern art, beginning with Post-Impressionism. The introduction covers the background to the book, problems of translation, and a note about word- image relationships and what this thesis represents to me. ii TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... iii ACKNOWLEDGEMENTS ......................................................................................... v Introduction .................................................................................................................. 1 Chapter
    [Show full text]
  • From M.C. Escher to Mass Effect
    Issue 02 – 2013 Journal –Peer Reviewed ATHANASIOS PETROVITS IT University of Copenhagen From M.C. Escher [email protected] & ALESSANDRO CANOSSA Northeastern University to Mass Efect [email protected] Impossible spaces and hyper-real worlds in video games. How can hyper- real worlds be designed and interpreted in a 2D, 2.5D and 3D virtual environment and how will this implementation afect the stereoscopic 3D video games of the future? Game developers, even during the early years of game design, have always searched for new and interesting ways of creating more elaborate, immersive and realistic environments for their video games. Even the MUD’s (multi-user dungeons), designed in the late 1970s, such as Roy Trubshaw’s MUD1, implemented such interesting ways of connecting their rooms as teleportation, paving the way for later developers to design and implement interesting and imaginative environments that border on the fantas- tic or the Hyper-real, as we will designate these worlds in this article. The term Hyper-real is used extensively by philosophers, such as Jean Bau- drillard and Umberto Eco; they use the term to distinguish reality from a simulation of reality, especially in cases of technologically advanced societies. In Baudrillard’s own words, hyper-reality is a simulation generated “by models of a real without origin or reality” (Baudrillard, 2000, p. 1). In this article, the term “Hyper-real worlds” will be used to describe worlds that are not that much fur- ther from what Baudrillard describes. These game worlds, although they have a connection to our reality, architectural structure or geographical coordinates, are defnitely un-realistic and without any origin in our world, comprised of fantas- tic creatures, alien architecture and geometrical and physical impossibilities.
    [Show full text]
  • Rui Torres & Sandy Baldwin
    CONFERENCE, FESTIVAL, EXHIBITS BOOK OF ABSTRACTS AND CATALOGS EDITORS: RUI TORRES & SANDY BALDWIN Conference Book of Abstracts edited by Rui Torres and Sandy Baldwin Festival Catalog edited by Rui Torres and Sandy Baldwin Exhibits Catalog edited by Rui Torres with texts by the Curators: • Affiliations - Remix and Intervene: Computing Sound and Visual Poetry: Álvaro Seiça and Daniela Côrtes Maduro • Communities - Signs, Actions, Codes: Bruno Ministro and Sandra Guerreiro Dias • Translations - Translating, Transducing, Transcoding: Ana Marques da Silva and Diogo Marques • E-lit for Kids: Mark Marino, Astrid Ensslin, María Goicoechea, and Lucas Ramada Prieto. EDIÇÕES UNIVERSIDADE FERNANDO PESSOA PORTO . 2017 CONTENts INTRODUCTION ................................................. 7 CONFERENCE .................................................... 15 FESTIVAL ............................................................ 475 EXHIBITS ............................................................. 591 INTRODUCTION The ELO (Electronic Literature Organization) organized its 2017 Conference, Festi- val and Exhibits, from July 18-22, at University Fernando Pessoa, Porto, as well as several other venues located in the center of the historic city of Porto, Portugal. Titled Electronic Literature: Affiliations, Communities, Translations, ELO’17 pro- poses a reflection about dialogues and untold histories of electronic literature, providing a space for discussion about what exchanges, negotiations, and move- ments we can track in the field of electronic literature.
    [Show full text]