computer generated literature

By leahhenrickson, 13 August, 2018
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Abstract (in English)

Racter poses virtually no threat to human authors, nor does any other algorithmic author currently available. The question is hence not one of replacement, but of augmentation, of new responsibilities for the human author in light of the algorithmic one. When Juhl writes that computer-generated output lacks the intentionality of a text with a human author, he falls into a similar trap as Bök: both scholars fail to recognise the fundamentally human basis of algorithmic authorship. Human intention hasn’t disappeared, but is merely manifest in a new way. Indeed, The Policeman’s Beard’s apparent randomness is a rhetorical choice, and Racter’s nonsensical output pushes the limits of creativity by means of an intentional goal to be incomprehensible.

Description in original language
By J. R. Carpenter, 24 June, 2015
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issue 14
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Not quite a short story, not quite a stage play, ‘Once upon a Tide’ is just one of those moments in literature when time … stands … still. When plot advances by simply refusing to budge. One of those waiting times, slack tides, great hollows within which heat intensifies, cold deepens, night thickens, fevers rage, or the sun continues its relentless blaze. Tension builds, and still nothing happens; neither the sight of a sail on the horizon nor the slightest breath of wind. It is within these long stillnesses that sailors’ yarns unravel. In Conrad’s Heart of Darkness (1899), the entirety of Marlow’s tale is recounted in one evening whilst sitting utterly still on the deck of a ship moored on the Thames. In the pitch dark and the heavy night air of the river, the narrator strains to discern meaning: ‘I listened, I listened on the watch for the sentence, for the word, that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips…’.

In fiction, these long feverish pauses eventually break. In a variable text, however, we may hover forever within the tense and nuanced relation between reading, listening, watching, and waiting for the sentence, the word, the clue…

(Source: J. R. Carpenter, The Junket)

Pull Quotes

There is no logical reason to cause Conrad-esque characters to speak Shakespearian dialogue. The compulsion to do so is born of reading and re-reading sea stories across genres and across centuries. The reader of ‘Once Upon a Tide’ is encouraged to do the same – read and re-read, aloud if possible.

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Description (in English)

‘Once upon a Tide’ is a variable, restless, shifting narrative. Turns of phrase, stage directions, and lines of dialogue from Shakespeare’s The Tempest (1610-11) are randomly, repeatedly, and somewhat enigmatically recombined within a close, tense, ship-bound setting reminiscent of Joseph Conrad’s The Secret Sharer (1910), or The Shadow-Line (1916). On the deck of a ship off the shore of an island, two interlocutors are closely observed by a narrator who remains hidden from view.

Not quite a short story, not quite a stage play, ‘Once upon a Tide’ is just one of those moments in literature when time … stands … still.

(Source: J. R. Carpenter, The Junket)

Pull Quotes

Once upon a perigee tide we sailed past a lagoon, our ship charmed. On the forecastle deck two stout men sat mending nets. From their looks I wondered that they had come from calmer shores, certainly none so desolate as these.

Once upon an apogee tide we piloted past a cliff, our ship a brave vessel. On the poop deck two mean boatswains squated twisting tales. From their looks I assumed that the pair had set out from foreign shores, certainly none so harsh as these.

Once upon a spring tide we piloted past a delta, our ship dashed all to pieces. On the tween deck two old strangers loitered mending nets. From their apparel I reasoned that both had sailed from braver shores, surely none so harsh as these.

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Once Upon a Tide || J. R. Carpenter
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PataLiterator was a HyperCard system authored by mIEKAL aND, that manufactures a neologistic vocabulary, hence literature, by generating either single words or texts up to forty pages using an amenable database of phonemes and syllables. PataLiterator attempts to apply "the art of hyperpataphysics" to Alfred Jarry's late-nineteenth-century proclamations. The work opens with a screen that shows Jarry's "Ubu" and presents four buttons "About", "Help", "Start" and "More". The interface allow the viewers to produce text and alter the databases that feed the output.

(Source: Prehistoric Digital Poetry: An Archaeology of Forms by C.T Funkhouser)

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Screenshot - PataLiterator
By Alvaro Seica, 2 February, 2015
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In this essay John Cayley reviews Nick Montfort’s #!, a book of computer generated poetry and the code that generated it. Exploring the triangle of Montfort’s programs, the machines that read them, and the output presented for human readers, Cayley situates the experience of reading and writing as intrinsically virtual, powered by its sustained potentiality, rather than its definitive comprehension. (Source: ebr)

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Megawatt is based on passages from Samuel Beckett’s novel Watt, first published in 1953 but written much earlier, when Beckett was aiding the French Resistance during World War II. The novel Megawatt leaves aside all of the more intelligible language of Beckett’s novel and is based, instead, on that which is most systematic and inscrutable. It does not just recreate these passages, although with minor changes the Megawatt code can be used to do so. In the new novel, rather, they are intensified by generating, using the same methods that Beckett used, significantly more text than is found in the already excessive Watt. The novel concludes with a listing of the code that was used to generate it.

(Source: Harvard Book Store)

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Montfort Megawatt 2014 Cover
Technical notes

Megawatt, a book of 246 pages based on Samuel Beckett's Watt, is generated by 350 lines of Python.

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« Réponse à Claude Adelen » est un programme générateur de Jean-Pierre Balpe, créé en 1992. Il est disponible sur le dossier « Kaos – Action poétique », dans le fichier « 12 ». (Pour cette entrée, le programme a été accédé par un Power Mac G3, Mac OS 8, ce qui a posé des problèmes en accédant à toutes les capacités du programme.) « Réponse à Claude Adelen » est une vraie réponse à un « défi » proposé par Claude Adelen dans la revue « Action poétique 129/130 » publiée en 1992. Dans une section intitulée «À Jean-Pierre Balpe concernant l’écriture machinale», Adelen met au défi le potentiel de l’ordinateur de Balpe en doutant s’il peut imiter le style du poème « calque ». Le poème généré, ou poème « décalqué », doit être assez similaire aux poèmes d’Adelen pour le duper. Adelen a choisi deux poèmes du recueil L’amour des mots : un poème de Jacques Dupin qui est un extrait de L’embrasure et un poème de Pierre Jean Louve qui est un extrait de Matière céleste (Nada). En outre, Adelen propose deux « fabrications» à l’ordinateur de Balpe : premièrement, l’ordinateur doit refaire le poème décalqué de L’amour des mots et deuxièmement, l’ordinateur peut suivre un liste de vocabulaire qu’il peut utiliser pour écrire un texte de 14 vers et de 17 vers, en alexandrins et en décasyllabes respectivement. Adelen dit que « le sphinx, c’est moi » quand il essaie de définir pour l’ordinateur les paramètres pour « résoudre l’énigme ». Dans sa réponse, Balpe donne les « Propositions de Claude Adelen » en cliquant sur le bouton « Lire les solutions de Claude Adelen ». Une autre page avec les propositions d’Adelen s’ouvrit quand on clique sur ce bouton et affiche deux poèmes sous les titres « Poème-source » et «Poème-calque/ La dernière main ». Le « Poème-source » est le poème du recueil et le « Poème-calque» est la propre version décalquée intitulée La dernière main. Adelen explique dans la revue que sa version décalquée du poème source était en réserve pour servir de « clôture » au recueil. Avec la structure et le vocabulaire de ces deux poèmes, le programme générateur de Balpe créé des poèmes qui imitent le format original. En cliquant sur un grand bouton à droite de l’écran, on peut générer les poèmes différents mais tous avec la même structure. Il existe un autre bouton « Introduire vos mots » qui ouvre un autre écran où on aurait l’occasion normalement d’ajouter ses propres mots au programme, en suivant les règles du programme. Toutefois, cette partie n’a pas fonctionné à l’heure où on a accédé au programme à cause des problèmes techniques. Normalement, on pourrait imprimer le texte aussi, mais cela n’a pas fonctionné non plus. Quant au texte généré par le programme, le sens n’est pas tout-à-fait accessible. Il existe un motif de déprise à cause d’un manque de cohérence dans les poèmes générés. On n’est pas certain où chaque vers commence et finit. On ne sait pas non plus si chaque phrase est continuelle et se lie au reste du vers. Toutes ces incertitudes accentuent un sentiment d’ambiguïté suscité par la structure des poèmes. (Source: Dakota Fidram)

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By Alvaro Seica, 6 December, 2013
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181-188
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2.1
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Uma vez fundado o Centro de Estudos sobre Texto Informático e Ciberliteratura na Universidade Fernando Pessoa, unidade de investigação transdisciplinar que se propõe desenvolver não apenas uma reflexão teórica mas também uma prática criativa assente nas novas modalidades de texto nascidas com o advento da informática e das novas tecnologias digitais - com particular destaque para o texto automático, o texto dinâmico e o hipertexto - será oportuno explorar aqui uma delimitação definitória destes conceitos no seu âmbito de aplicação.

(Fonte: Introdução do Autor)