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text captured from Python program running halfway_loop.py, code modified to fit on page # Halfway Through by Natalia Fedorova code is a remix of Through the park by Nick Montfort

translated from ROSE, a stealthlang, based on English.

translated into Unglish

generative poem built out of spam, code, thesis work and a little bit of language's heart

## READ WRITE GARDEN ## is an erasure poem by J. R. Carpenter carved out of Ruby code and code comments by Caden Lovelace. This text was created for The Ill-Tempered Rubyist, an international anthology of poems involving computer languages, especially the RUBY language, hand-made and edited by Karen Randall in honor of the Millay Colony‘s ruby anniversary.

"[twitte]reality_fictions_09 ]" is a combination of both twitter-based "reality fictions" (today known by the more popular term "flash fictions") and critical observations concerning such works.

"Elogio del texto digital. Claves para interpretar el nuevo paradigma" (Praise to Digital Text. Keys to interpret the New Paradigm) is an essay about the history of printed text and the history of the digitization of texts. The author supports the idea of updating the universities curricula by using knowledge bases. (Description written by Maya Zalbidea Paniagua)

The novel mentions and reproduces fragments of a mythic book, Estuario, by the deceased author Dölphin. In the online “parallel book” the “lectonautas” can write and rewrite Estuario. The online user can comment on the fragments included in the novel, add new “apocryphal fragments,” or distort any of the previous texts. Valencia explains in his introduction to the site that the purpose of sharing this space is to test the inexhaustible, “floating” nature of any fiction.

Barbosa’s theoretical-practical trilogy closes with Máquinas Pensantes: Aforismos Gerados por Computador [Thinking Machines: Computer-Generated Aphorisms] (1988), as it can be understood as the third volume of A Literatura Cibernética. Here, the author presents a long series of literary aphorisms, in which the generation of texts is said to be “computer-assisted” (Computer-Assisted Literature) in BASIC language. The “A” series (Re-text program) deals with combinatorial “re-textualizações” [re-textualizations] (1988: 59) of a fragment (“matrix-text”) by Nietzsche and the “B” series (Acaso program), which had been partially published in the Jornal de Notícias (1984), draws upon the conceptual model created by Melo e Castro’s poem “Tudo Pode Ser Dito Num Poema” [Everything Can Be Said in a Poem], included in Álea e Vazio [Chance and Void] (1971). Finally, the “C” series (Afor-A and Afor-B programs) comprises reformulations of traditional Portuguese aphorisms, which result in new interpretations, sometimes ironic, sometimes surreal.

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

We tend to overlook that mathematics is, in fact, a language; and it is a dynamic system of communication that has been largely ignored as a vehicle for textual translation. ‘Algorithmic Translations’ attempt to acknowledge this vehicular disregard by utlising the mathematical functionality found in graphic imaging software. This utilisation adds an element of dimensionality to a textual work by mutating a text into a kind of graphic, nonlinear entity. Through a series of algorithmic calculations, the computer program expels an abstract image based upon the original topographical placement of the type on the space of the page. This algorithm transforms each letter, each mark of punctuation, into dendrites that extrude into the continuum of the page. Each page is inimitable; the image can never be recreated in the same way twice due to the program’s seemingly aleatory function during the algorithmic transformation. This act of visual creation through mathematical calculation serves to challenge the reader’s notion of comprehension, perceptibility, and language, through visual poetics.