A Internet, com sua natureza multicultural e multilinguística, converte-se em excelente ferramenta para o ensino do inglês em sua dimensão sistêmica de regras e normas, além de promover e facilitar a comunicação entre os aprendizes das mais diversas culturas.

Para Magda Soares (2003), a alfabetização refere-se ao aprendizado de uma técnica.

participação em discussões entre membros de comunidade Internet;

O advento da Internet, a rede mundial de computadores, trouxe também uma mudança radical no comportamento das pessoas.

um crescente e precioso auxílio, oriundo das novas tecnologias de informação e comunicação em ambientes de ensino-aprendizagem.

and which Hegel called "the epic of the middle-class world" -- is perceived by its would-be executioners as the virulent carrier of the patriarchal, colonial, canonical, proprietary, hierarchical and authoritarian values of a past that is no longer with us.

As the ryber prefix indicates, the text is seen as a machine-not meta­phorically but as a mechanical device for the production and con­sumption of verbal signs. Just as a film is useless without a projector and a screen, so a text must consist of a material medium as well as a collection of words. The machine, of course, is not complete without a third party, the (human) operator, and it is within this triad that the text takes place. (21)

"A cyber­text is a machine for the production of variety of expression." This includes works in which texts can be added by the reader, or in which texts can be gen­erated differently from fixed initial materials, or in which connections between texts can change in different states of the work.

Just as the WTh1P (Windows, Icons, Menus, and Pointers) interfaces of mod­ern computers provide a context for much digital literature, it is also important to note that other digital literature embeds its computation and data in utterly different contexts. Perhaps it will help clarify the issues if we ask ourselves an­other puzzling question, such as one first posed to me by Roberto Sima­nowski: How do we understand the difference benveen Guillaume Apolli­naire's "Il Pleut" and Camille Utterback and Romy Achituv's Text Rain? Apol­linaire's poem is made up of letters falling down the page like rain. Utterback and Achituv's installation takes a video image of the audience standing before it and projects that image on the wall in front of the audience, Vlith the addi­tion (m the video scene) of the letters of a poem falling down like rain and resting on the bodies of their readers. Obviously, one difference is the passage of time in Text Rain1 and another difference is that Text Rain is audience inter­active (lifting up a hand on which letters rest causes them to be raised as well). But, at least as fundamentally, another difference is that Text Rain is situated in a physical space other than a printed page or a computer screen, in which the method of interactiori is the movement of the readers' bodies (which are rep­resented within the work itself).

Raymond Queneau's One Hundred Thousand Billion Poems (1961). This work consists of ten sonnets, each of 14 lines. While one might expect, then, that this work would be more suitably titled Ten Poems1 there is something in the construction of each poem that causes the number of potential poems to be much larger than ten. To wit: a reader can construct alternate poems by reading the first line of any of the original sonnets, followed by the second line of any sonnet, followed by the third line of any sonnet--and find that the whole work is artfully constructed so that any reading of this sort produces a sonnet that functions syntactically, metrically, and in its rhyme scheme. And here we see combinatory literature as (rndependently) discovered by a writer. Strachey's generator contains many more possible variations in each few lines of output, but there need be nothing artful in the selection of words-a the­saurus search for terms related to love will do the trick. Queneau's Poems, on the other hand, is a high-wire act of writing. He has created a process, but a process that only works when real attention is given to the words.

the love letter generator's more restrained combinatory vo­cabulary made it possible for most (rather than only a few) words to change from output to output. It is clear, however, from Strachey's contribution to Encounte0 that he also understood the other side of combinatory literature­the view of the system itself when one steps back from the individual outputs, the remarkable diversity that can be produced by a simple plan.

the love letter generator

That summer he devel­oped-'With some aesthetic advice from his sister Barbara, using Turing's ran­dom number generator, and perhaps in collaboration 'With Turing-a Mark I program that created combinatory love letters. This was the first piece of digi­tal literature, and of digital art, predating by a decade the earliest examples of digital computer art from recent surveys (e.g., Paul).

I mean literary work that requires the digital computation performed by laptops, desktops, servers, cellphones, game consoles, interactive environ­ment controllers, or any of the other computers that surround us.