Romy Achituv, Apollinaire, Pascal Auberson, Bryan Barrachina, Jorge Luis Borges, Philippe Bootz, Serge Bouchardon, Augusto de Campos, Lluís Calvo, J.R. Carpenter, Josh Carroll, Domenico Chiappe, David Clark, Alison Clifford, Roderick Coover, Julio Cortázar, Ramon Dachs, Douglas Duteil, T.S. Eliot, Odile Farge, Ton Ferret, Jerome Fletcher, Loss Pequeño Glazier, Christian Gratton, Shawn Greenlee, Lucile Haute, Carles Hac-Mor, Aurélie Herbet, Isaías Herrero, Shelley Jackson, Tomek Jarolim, David Jhave Johnson, Michael Joyce, Aya Karpinska, Deena Larsen, Cynthia Lawson Jaramillo, Jason Lewis, Erik Loyer, Marjorie Luesebrink, Andrew McClain, Andreas Meier, María Mencía, Stuart Moulthrop, Bruno Nadeau, Jason Nelson, Julien Pænasse, Cori Pedrola, Octavio Paz, Jörg Piringer, Raymond Queneau, Scott Rettberg, Cassandra Ribotti, Jaime Alejandro Rodríguez, Berta Rubio, Alexandra Saemmer, Màrius Sampere, Benjamin "Sascha" Shine, Stephanie Strickland, Eugenio Tisselli, Rui Torres, Ana María Uribe, Camille Utterback, Pedro Valdeolmillos, Vincent Volckaert, Noah Wardrip-Fruin, Christine Wilks, Ester Xargay

The word, written and spoken, has been associated with verbal and divine creation since Genesis. The word and its “receptacles”: the voice, writing, the printing press, the typewriter, the computer... the word and technology. The creative exercise that represents a development of certain linguistic properties (to use Paul Valéry’s formulation) has been called, at least since the 15th century, literature. Digital literature is a form of literary technological creation that already has a rich tradition, the specificity of which can be explained on the basis of the different elements of complexity it shows: physical complexity (what it is and what it is like), authorial complexity (who creates it, the programmer, the computer...), receptive complexity (the reading logics determined by the digital environment and the different formats used by creators), typological complexity (the variety and mixing of genres, the hybridization of here-and-now writing) and perceptive complexity (how one reads, what one reads with, etc.).

The possibilities for writing in the digital age are many and varied, and they are determined by the potential of the means of transmitting information: digital media. A digital text is above all a hypertext, i.e., a text intersected by other texts embedded in a textual skein fed by a great variety of threads—a text of texts that makes it possible to connect the written word to images, music, movement, temporality and sensoriality... This exhibition, the first large-format exhibition on this subject held in the world, is intended as a gateway to a still-emerging literary reality originating from a digital environment and digital procedures that can only be “consumed” optimally (i.e., without limiting its features, resources, style and intentionality) in this context. Digital media combines sound with calligraphy, the word with images and movement with meaning, attaining many of the dreams had for the alliance of the word with space from the old Greek calligrams and Arabian ideographic painting to the most recent avant-gardes. Pixelated Words, curated by Laura Borràs and Giovanna di Rosario, international specialists in digital literature and directors of the Hermeneia group at the University of Barcelona, enables you to take a tour of the past of the most recent literary form while opening possible itineraries for transiting its paths between genres, themes and media.


Laura Borràs and Giovanna Di Rosario 

Video opening

• Curators Laura Borràs and Giovanna Di Rosario
• Organized and produced by Arts Santa Mònica – Departament de Cultura