Computer generated poem in English by the Dutch sound poet Greta Monach (1928-2018), which was anthologised in the Richard W. Bailey's collection Computer Poems (1973).
Compoëzie by the Dutch sound poet Greta Monach was published in 1973. In its 20 pages, it offers several examples of computer-generated poetry (in multiple colours) and an essay about her methodology.
Gerrit Krol is a novelist and poet, but also a computer programmer, who worked for Royal Dutch Shell. This book offers the earliest examples of computer-generated poetry from the Netherlands, and includes an essay about Krol's methodology.
Mixed-media object. Typography cards; transparent code phone and card poems; web app
Objecto mixed-media. Cartões em tipografia; telefone com código transparente e poemas em cartão; app web
Golem is a computer-generated casebound book consisting of 109 pages of text in eight sections. Each section has sentences of a distinct syntax. These express the undertakings, interactions, perceptions, and thoughts of a few people. The seventh section has two long Perl programs which differ from one another, the first described as being understood by one of the people, the second described as being written by another.
The book includes a postword by Zach Whalen.
Justice remembered existence. The philosopher contemplated that they (whom they (whom they (whom the censor contemplated) (whom Justice (whom the philosopher (whom Tim (whom Remy recalled) grasped) wrote) (whom Charlie recalled) (whom the censor (whom Cyn wrote) (whom Tim contemplated) felt) (whom the philosopher (whom Justice (whom Tim recalled) (whom the exhibitor understood) sensed) imagined) took in) sensed) wrote) remembered something or Charlie (whom Remy felt) (whom Justice imagined) understood that the mentor grasped that when they understood something it was false that the mentor (whom the censor wrote) understood that when Charlie wrote the possible idea that she contemplated her it was absurd that the philosopher (whom they grasped) remembered a lot, so select individuals imagined the other.
In the 17th century, Leibniz proposed to create an encyclopedia that would bring together all the fields of human knowledge. This led him to be interested in the works of Raimundo Llull, Athanasius Kircher or John Dee and to anticipate the ideas of Vannevar Bush or Ted Nelson by several centuries.The book of the end of the world is also constituted as an encyclopedia, only, in this case, it is an unfinished and open corpus, providing a questioning about the space of identities and differences according to which we distribute, recognize and name our world.Reminiscent of Aloysius Bertrand, Marcel Schwob, or medieval bestiaries, The Book of the End of the World proposes the creation of different possible worlds, autonomous universes, each with its own order, laws, and regularities.The inclusion of hypertext works and the link to the book's site on the Internet emphasize the notions of non-linearity and bifurcation implicit in the conception of the work.
En el siglo XVII, Leibniz propuso crear una enciclopedia que reuniera todos los campos del conocimiento humano. Ésto lo llevó a interesarse por los trabajos de Raimundo Llull, Athanasius Kircher o John Dee y adelantarse en varios siglos a las ideas de Vannevar Bush o Ted Nelson.El libro del fin del mundo se constituye igualmente como una enciclopedia sólo que en este caso se trata de un corpus inacabado y abierto, proporcionando un cuestionamiento acerca del espacio de identidades y diferencias según las cuales distribuimos, reconocemos y nombramos nuestro mundo.Con reminiscencias de Aloysius Bertrand, Marcel Schwob o los bestiarios medievales, El libro del fin del mundo plantea la creación de diferentes mundos posibles, universos autónomos, cada uno con su propio orden, leyes y regularidades.La inclusión de trabajos hipertextuales y el vínculo con el sitio del libro en Internet enfatizan las nociones de no linealidad y bifurcación implícitas en la concepción de la obra.
