Manuel Portela participou no ‘E-Poetry 2011: International Digital Language | Media | Arts Festival’, que teve lugar entre 18 e 21 de Maio no Center for the Arts da Universidade do Estado de Nova Iorque, em Buffalo. Foi a sexta edição deste festival bienal, que é dirigido por Loss Pequeño Glazier (Electronic Poetry Center, Department of Media Study, SUNY, Buffalo) e Sandy Baldwin (Center for Literary Computing, West Virginia University). As edições anteriores do ‘E-Poetry’ ocorreram em Buffalo, NY (2001), Morgantown, WV (2003), Londres (2005), Paris (2007) e Barcelona (2009).

Na edição de 2011, participaram cerca de 80 artistas e investigadores de três dezenas de países, incluindo autores consagrados (Jim Rosenberg, Philippe Bootz, Talan Memmott, John Cayley,  Stephanie Strickland, Maria Mencía, Lawrence Upton, chris cheek, etc.) e autores emergentes (Eugenio Tisselli, Joerg Piringer, Patricia Tomaszek, Sandra Huber, Jhave, Nick Montfort, Mark Marino, Benjamin Moreno, etc.). O festival alternou a apresentação de novas obras digitais e performances com reflexões críticas sobre a história, práticas e linguagens da literatura electrónica em várias partes do mundo.


Manuel Portela e Rui Torres apresentaram a comunicação ‘PO-EX 70-80: The Electronic Multimodal Repository as Digital Performance’, que reflecte sobre a multimodalidade do projecto PO-EX a partir dos problemas de representação dos diversos tipos de materiais a incluir no arquivo.

Abstract: The creation of a digital archive of experimental literature forces us to address two sets of theoretical and technical problems. The first set of problems originates at the level of the source materials for the archive. The second set of problems clusters around issues posed by the new archival medium. The first set of questions has to deal with selecting from the source materials those documentary evidences that will come to define a given body of works and live performances of works. As regards the digital representation and classification of the source materials, we may need to follow the hypertext rationale established by scholarly electronic editions of literary and artistic works. This means producing digital facsimiles and digital transcriptions, marking up variations and versions, and creating elaborate metadata both about the digital surrogates and their source objects. We also need to work with a model of electronic space that takes full advantage of its aggregative and collaborative functionalities as a new space for using the archived materials in new contexts, including teaching, research, and other creative practices.