constraint

"Sentence" is an entire 2,000 word story told in the form of one sentence.

It was first published in the Jan. 18, 1969 issue of The New Yorker and subsequently in the collection City Life.

A generative fictional birdwatching guide, with an essay on taxonomy, formal logic, and the OuLiPo written in the comments to Prolog code.

The Poetry Machine was developed in 2012 as a way for libraries to exhibit electronic literature.52 The installation consists of three sensor-equipped books through which (up to) three simultaneous users can compose poems on a screen, and then get them printed on small receipts and stored on a website. When seizing a book, the user is assigned a sentence from this book out of approximately a hundred different sentences. Each sentence exists in three variations, which the user can choose to drag into the writing space. After a limit (e.g., 350 characters) is reached, by combining the books and sentences, the poem is finished, printed, and stored online.

The Poetry Machine was designed as a collaborative project between librarians, authors, and researchers, and the design has focused on critically addressing the digiti- zation of literary culture—that is, on the tendency of the literary apparatus. The Poetry Machine allows users to experience digitization through the composition of poems and interaction with the installation. In this way the installation seeks to make the apparatus of digitization sensible. Apart from making a usable and meaningful literary installation, it proposes that digitization does not just make the book disappear into virtual libraries but instead on a more fundamental level changes writing itself. Furthermore, it suggests a tactic to comprehend and act against the disappearance (“burning”) of the book that has happened at many libraries. As not-just-art, it explores how tactics from electronic literature challenge traditional literary understanding through three interconnected levels.

(Source: The Metainterface by Christian Ulrik Andersen and Søren Bro Pold)

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)

Bubbleboy project was conceived to be made from 100 posts, during 100 consecutive days. I established, in a oulipian constraint, that every post would consist of a random image, found in the images search tool,and a brief text related to it. El Diario del Niño Burbuja was made as a text in process, without any pre-established plot or direction. Fragile and insconstant, Bubble, is in a continous endangered disappearance. Like bubbles floating in a hyperspace through multiple dimensions, Bubbleboy inhabits cyberspace, a place that suggests a new spatiality, temporality without any accurate order or causal linearity.

(Written by the author, Belén Gache, published in belengache.net, translated by Maya Zalbidea)

FIGURES texts are constructed as a literary illustration of the Golden Number and the Fibonacci sequence. As a mathematical and aesthetic constant, the Golden Number is a "matrix" formal for determining the number of words and lines of texts and how they fit together one inside the other. FIGURES texts are therefore of Golden Rectangles where words are used as measurement unit horizontal and unit vertical measurement lines.