I think that our friend Jorge Luiz Antonio is out by technic problems with his computer. Here a Spams for you:
The "Museum of the essential and beyond that" and the "III Mostra Interpoesia" have worked together to launch the Clemente Padín's cd-rom : "The New Padin's Spams Trashes". This work will be launched in the "III Mostra Interpoesia", but we are pride of showing now some of these creative spams. You must browser:
http://www.arteonline.arq.br/museu/home2.htm (to get the "Spam's room", press the pop up window with the logo of the museum and chose second floor, spams ...)
Below a small part of the introduction of the Padín's cd, by Jorge Luiz Antonio: "One needs to be a great poet to look at the quotidian aspects of these emails and change them into poetic messages. In fact the strangeness already appears in the title. Spams Trashes. Is it poetry? Is it art?
It is in this clime of creation, thinking, irony and wanting for a better world, that we can appreciate, in the order we want to start reading (the digital poetry cd-rom allows us many entries and several readings), "The New Millenium Virus", "Creating a Better World", "The New Martyrs", among others. The work treats about the thinking of our present time, and it is a manifestation against the repetition to prove that we need it in order to establish the new, the unused, the unspeakable."
----- Mensaje original -----
Enviado: Lunes, 28 de Octubre de 2002 01:38 a.m.
Asunto: [-empyre-] re: Jorge Luiz Antonio, Jim Andrews - relational poetry and semiotics
> Hi Jorge Luiz and Jim Andrews
> The work referenced in your posting "Brazilian Digital Art
> and Poetry on the web":
> http://www.vispo.com//misc/BrazilianDigitalPoetry.htm available
> through Jim Andrews site http://www.vispo.com/ lists several
> relational collaborative works operating in different language
> In an earlier e-mail Padin mentioned his use of a
> translation engine. Operating in multiple registers I am curious as
> well about this shift from orality to text. In an earlier thread I
> mentioned that time-based poetry rendered through flash or other
> on-line animation feels processed in the manner of the spoken word,
> retaining something of orality expressed in real time. Also relevant
> I think there is something about Bakhtin's notion of personification,
> or the "ascription of agency to inanimate ideas and objects."
> How do multiple semiotic codes collaboratively imaged onto
> texts reflect authorship and the "grain de la voix" the grain of the
> voice? There are numerous
> multilingual poetic maps posted on the webartery e-group. Jorge
> Luiz, can you elaborate on the collaborative and interactive works
> involving Regina Celia Pinto and Fatima Lasay
> empyre forum