Portuguese

Simanowski considers that Barbosa “deconstruct[s] its form by running it through his text generator. (…) The outcome is predictably absurd and humorous, and portrays wild deviations from the mundane occurrences found in the original. Applying the chance procedures of a text generator to this poem inevitably subverts the status quo of his subject. It spices up the boring life of the city man by turning the depressing poem into seasoned surrealist lines. The form of the computer-generated text responds to the chosen content of the database. The result seems to declare that there is no other chance than accepting the chance. (…) Although the content of the outcome is owned by the machine, the meaning belongs to the human behind it (…)” (2011: 102-103).

In this second volume of Cybernetic Literature, which is devoted to fiction, Barbosa publishes a narrative synthesizer, addressing the concept of “matrix-text” as a transformable grid by the computer program. Being aware that in the fictional field there is a concern for semantic and narrative coherence, the author publishes the most interesting outputs of the variants of the series “Era Uma Vez...” [Once Upon a Time...], “Fábulas” [Fables], “Histórias dum Baralho de Cartas” [Stories of a Deck of Cards] and, finally, “História dum Homem Citadino” [Cityman Story], whose literary reception has been more explored, e.g. Christopher Funkhouser (2007) and Roberto Simanowski (2011), who curiously read it as a poem.

[Source: Álvaro Seiça, "A Luminous Beam: Reading the Portuguese Electronic Literature Collection" (2015)]

Pedro Barbosa’s pioneering work introduced computer-generated literature (CGL) in Portugal in 1975. Having worked with Abraham A. Moles at the University of Strasbourg, Barbosa published three theoretical-practical volumes of his programming experiences with the FORTRAN and BASIC languages. These volumes deal with combinatorics and randomness, developing algorithms able to ally computing and literary production, bearing in mind a perspective of computational text theory.
According to the author, A Literatura Cibernética 1: Autopoemas Gerados por Computador [Cybernetic Literature 1: Computer-Generated Autopoems] is an “esboço de uma teoria, toda uma prática, dois métodos e dois programas, que irão facultar a qualquer leitor, interessado e imaginoso, a confecção de poemas automáticos à razão de 5200 versos por hora: no espaço intraorgânico de qualquer computador!” [outline of a theory, an entire practice, two methods and two programs, which will provide any interested and imaginative reader with the possibility of making automatic poems at the rate of 5200 verses per hour: in the intraorganic space of any computer!] (1977: 8) These “auto-texts,” or “computer-generated autopoems,” hitherto open up a new field of literary theory in the Portuguese context – the direct junction of literature and computation, of writer and programmer. Barbosa’s autopoems were programmed in FORTRAN, ALGOL and NEAT during 1975-76 (Permuta program, Iserve subprogram, and Texal program, Aletor subprogram), using an Elliot/NCR 4130 (a machine introduced in the 1960s in the UK), in collaboration with Azevedo Machado, engineer at the Laboratório de Cálculo Automático [Laboratory of Automatic Calculus] (LACA), at the Faculty of Sciences from the University of Porto.

[Source: Álvaro Seiça, "A Luminous Beam: Reading the Portuguese Electronic Literature Collection" (2015)]

An urban intervention project involving electronic billboards and user-selected graffiti.

"Conceived in the context of a broad urban intervention, Did You Read the East? dialogued with the guerilla teactics of graffiti. Participants were invited to choose e-graffiti that I had created--a series of six video-poems, composed in stylized fonts--and "invade" the programming of the electronic pantel. The graffiti appeared among advertising, mixing and remixing themes that included violence, social hypocrisy, love, and lyricism." 

With these probabilities, we randomly selected series of numbers, using a pseudo-random number routine, that were used to select the triads for cv and vc sets. The most common sets in Portuguese, such as CA, BO, AL, ES, etc., appeared more often than the rare sets such as ZU, UX, etc. Thus, some possible words include, for example, CACETE, BOLADA, ACABAC, etc. (all swear words, for which there was no censure!). The generated words clearly sounded similar to real words in Portuguese. A fraction of the “words” actually exist. Next, a number was assigned to indicate if the word was formed by sets of high or low probability of existing in Portuguese. If the number was high (high probability), it was in fact more likely that the “word” actually existed. Lists of words were created and, during the 1986 exposition at the MAC/USP, a computer was programmed to reproduce “BEABÁ”, and visitors could take their own printouts with words generated by the computer, which were always unique.

(Source: Author. English Translation: Luciana Gattass)

In Brazil, the first artistic experience with computer that we know was "Abecê" (Abecedary), idealized by Waldemar Cordeiro with Giorgio Muscati's collaboration, professor of Physics in the University of Sao Paulo, in 1968. It was a generating program of words composed of six letters, which worked in a computer IBM, type 360/44, with entrance for perforated cards, memory of 32 Kbytes and an exit for lines printer.

(Source: Jorge Luiz Antonio, "Trajectory of Electronic Poetry in Brazil: A Short History", 2007: 5)

An engineer by training, Erthos Albino de Souza applied conceptual or physical mathematical models to the construction or deconstruction of texts. The graphic poem Le Tombeau de Mallarmé is a good demonstration of this process. He created a program for distributing temperatures and applied them to a heated fluid that runs through the interior of a tube. This program allowed a different design to be obtained based on the different temperatures of the fluids in the various sections of the tube. But since the engineer-poet coded his graphic system in such a way that each temperature scale corresponds to one of the letters of Mallarmé’s name, the result is that the letters are spatially arranged and form configurations that are vaguely reminiscent of Mallarmé’s “tomb.” By heating the fluid at different temperatures, he achieved different graphic schemes and thus different configurations of Mallarmé’s name, where the graphic sequence composes the poem.

(Source: Itaú Cultural. English translation: Luciana Gattass)