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The Kaos electronic literature magazine was published on floppy disk by the French company Kaos as a new year electronic postcard from 1991 to 1993. Realised by Jean-Pierre Balpe, the father of automatic literary text generation, the issue #3 released in January 1993 for Apple Mac proposes generators by different authors (in French and one in English by Jasper). (Source: http://imal.org/en/resurrection/kaos-3-action-poetique-jean-pierre-balpe)
Kaos était une revue sur ordinateur consacrée à la littérature électronique et produite par la société Kaos, qui la présentait comme carte de voeux. Réalisée par Jean-Pierre Balpe, trois numéros sur disquettes seront ainsi édités entre 1991 et 1993. Ce numéro 3 est sorti en Janvier 1993. La génération automatique de textes est quasi l'oeuvre de Jean-Pierre Balpe dont l'influence a été décisive sur la littérature numérique française des années 1980. Le numéro 3 propose plusieurs générateurs de différents auteurs. (Source: http://imal.org/fr/resurrection/kaos-3-action-poetique-jean-pierre-balpe)
Jean-Pierre Balpe is the programmer of most of the pieces in the issue. Mark Smith is the programmer of the JasperEngine.
This paper explores the rhetoric of surface and depth in two different kinds of digital poetry. Kinetic and time-based compositions, such as John Cayley’s “overboard” and “lens”, explore new parameters of visual and spatial representation – the ‘complex surface’ of the digital screen. The other type of digital works, the so-called ‘codeworks’, such as “%Location” by JODI, thematise the underlying technological prerequisites and specificities of the medium. Both sets of examples upset and challenge established conceptions of depth and surface. (Source: RiLUnE, no. 5, 2006: http://www.rilune.org/mono5/1_sommaire_resumes.pdf)
Cet article analyse la rhétorique de la surface et de la profondeur pour deux types différents de poésie numérique. Les compositions cinétiques et intégrant la dimension temporelle explorent des paramètres nouveaux de représentation visuelle et spatiale – la surface complexe de l´écran numérique. L´autre type d´oeuvres numériques, appelées codeworks thématise les conditions technologiques et les spécifités impliquées par le médium. Ces deux types d´exemples troublent et remettent en cause les représentations établies de la surface et de la profondeur. (Source: Résumé)
Digital Poetry usually appears on a screen. A computer monitor screen is a surface with implicit depth, because it is the visible manifestation of something which is, almost inevitably, imagined as having an “inside” (the CPU) or, increasingly, an “elsewhere”: the file server, web space or network. Mainframe computers and free-standing PCs tended to evoke a rhetoric of depth because their “workings” seemed to be “inside” them; the exponential growth of networks, and web-based applications may suggest a model of rhizome rather than root: a dispersed, interacting set of nodes which nevertheless seem to remain in some sense “behind” the screen. (2006: 37)
According to Pedro Barbosa (1996: 166), the aphorisms developed by Marcel Bénabou rely on a set of abstract formal structures and concrete words stored in the program's memory and were programmed in APL in 1979 for the "Journées Afcet".
Built in APL.
This is one of the great books of the twentieth century and is worth learning French for. It's a jigsaw puzzle and a massive painting. It's an Oulipean conundrum and a microcosm of the world. It's a clever game and a philosophical investigation. It's all the things that literature should be and, in particular, it shows that, in the end, life does not fit together in a nice, neat pattern.
Perec himself said he saw a Paris block of flats with the front stripped off so that you could peer into all of the flats and watch the inhabitants go about their daily business. And, to a great extent, that is what this novel is about. He takes a (fictitious) block of flats at 11 Rue Simon-Crubellier and looks at each flat, in seemingly random order (though he uses, like Nabokov, the move of a knight in chess to move through the flats), and their inhabitants, 179 in all. The story is told by Serge Valène, who has lived in the building for fifty-five years and who is a painter who, towards the end of his life, plans on creating a painting summing up all of his life (which, of course, he does not complete).
(Source: http://www.themodernnovel.com/french/perec/vie.htm)
La Vie mode d'emploi est un livre extraordinaire, d'une importance capitale non seulement dans la création de l'auteur, mais dans notre littérature, par son ampleur, son organisation, la richesse de ses informations, la cocasserie de ses inventions, par l'ironie qui le travaille de bout en bout sans en chasser la tendresse, par sa forme d'art enfin : un réalisme baroque qui confine au burlesque.
(Source: http://www.livredepoche.com/la-vie-mode-demploi-georges-perec-978225302…)
Poetry generator made by Jean-Pierre Balpe under the name of Germaine Proust.
This work assembles together three lines which form a new haïku each time the reader wants it. In French "Contre-Haïkus", which means "Against-Haïkus", the texts produced do not follow the haïkus' syllables rule (five for the first and the third lines and seven for the second). On the website dedicated to this project, we can also find these haïkus in a non-generative form (http://meshaikus.canalblog.com/).
"Contre-Haïkus" is a part of Jean-Pierre Balpe's work "Un univers de génération poétique littéraire" ("A universe of literary poetic generation"), accessible through the website http://www.balpe.name/. There, he presents different projects questioning literature and creates, by mirror effect between the works, a moving universe in evolution. With time, this website should host every Jean-Pierre Balpe's works that still accessible on internet.
Générateur de poésie créé par Jean-Pierre Balpe sous le nom de Germaine Proust.
Cette œuvre assemble trois vers qui forment un nouveau haïku chaque fois que le lecteur le souhaite. "Contre-Haïkus" produit des textes qui ne suivent pas la formation traditionnelle des haïkus (cinq syllabes pour le premier et le troisième vers, sept pour le deuxième). Sur le site dédié à ce projet, on peut également trouver ces haïkus sous une forme non-générative (http://meshaikus.canalblog.com/).
"Contre-Haïkus" est une partie de l’œuvre de Jean-Pierre Balpe "Un univers de génération poétique littéraire", accessible sur le site http://www.balpe.name/. Il y présente différents projets qui questionnent la littérature et crée, par effet de miroir entre les différents travaux, un univers changeant en évolution. À terme, ce site devrait héberger tous les travaux de Jean-Pierre Balpe encore accessibles sur internet.
In this interview Serge Bouchardon resumes his many activities in the realm of digital media. Besides a professional background in e-learning and the activity as researcher and professor he has also authored a book about electronic literature and several literary works. He explains why in his book he chose the theories of structuralism to analyse a topic that reaches out to post-structuralism or post-modern theories. Furthermore he describes the way the aesthetics of the literary text changes in the digital context. He then ponders about the status of electronic literature in the field of academia and talks about his current projects.