erasure

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Short description

Erasure is a powerful technique that allows contemporary creative writers, visual artists, and political activists to reveal underlying patterns within extant narratives. Perhaps because of its imbrication with book arts and other tactile forms, erasure poetry is relatively unexplored in the domain of e-literature. However, educational platforms like Wave Books’ interactive erasure poetry website, as well as recent artistic projects such as Amaranth Borsuk, Jesper Juul, and Nick Montfort’s web browser extension The Deletionist, Jacob Harris’s Times Haiku, and my own participatory platform The Infinite Woman demonstrate some of the possibilities for making and reading erasure poetry in a digital context. In this one-hour hands-on workshop, I’ll briefly introduce the form and technique of erasure in contemporary creative writing, looking at some physical examples (like Lauren Russell’s chalk erasure of Descent) in addition to the digital examples mentioned above.

We’ll discuss the aesthetic and political choices in handcrafted and computationally generated erasure poems; consider erasure’s overlap with and distinction from other approaches like remix, appropriation, and conceptualism; and explore how erasure allows writers and artists to stretch and innovate poetic technique. Then, I’ll introduce a series of hands-on exercises designed to get participants quickly making their own physical and digital erasures. Participants will experiment with user-friendly tools to make their own erasure poems on a variety of platforms. Participants will need to have access to a web browser (Chrome or Firefox) and a word processor, as well as a design program. I’ll be using the free, user-friendly, online platform Canva in lieu of an Adobe product; if participants do not already have a design program, they should sign up for a free Canva account before the workshop (https://www.canva.com/). They will also need paper, scissors, pens or markers, found physical text (like a newspaper or electrical bill), and found digital text (like a speech, blog post, or literary passage).

Record Status
Description (in English)

The project explores the politics of erasure and the temporality of voices within the context of digital authoritarianism. Unerasable Characters II presents the sheer scale of unheard voices by technically examining and culturally reflecting the endlessness, and its wider consequences, of censorship that is implemented through technological platforms and infrastructure.

The project collects unheard voices in the form of censored/erased (permission denied status via the official API) text, including emojis, symbols, English and Chinese characters, which is based on one of the biggest social media platform in China called Weibo. A daily scraping script is used to fetch those text via Weiboscope, a data collection and visualization project, developed by Dr. Fu King Wa from The University of Hong Kong, in which the system has been regularly sampling timelines of a set of selected Chinese microbloggers who have more than 1,000 followers or whose posts are frequently censored.

Consisting of a custom-software (written in Python and p5.js) that scrapes the erased “tweets” from Weiboscope on a daily basis, the project presents the archives in a grid format. Each tweet is deconstructed into a character-by-character display that occupies a flashing unit for a limited period. The duration of each ‘tweet’ is computed from the actual visible time on Weibo, and the visual will transform from a busy canvas to an empty one with all disappearance of text. The program will then fetch a new set of archives and the cycle will repeat endlessly. It takes an average of 4 hours per cycle to empty the screen.

Unerasable Characters II raises questions regarding not only data capture from a corporational perspective, but also the matters of who might be the readers in digital platforms like Weibo, and even the wider influential audio and web conference platform like Zoom, where online events were being censored globally. The project further points to the operations of censorship that requires different levels of collaboration between corporations, states, human labours, the intelligence of machines and algorithms, but more importantly is to examine the contested notions of "violation of policies" (rule of law) as the seemingly common argument of corporations, as well as wider issues of censorship and the threats to free speech and academic freedom.

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screenshot of program running
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Gif of program in action
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CC Attribution Non-Commercial Share Alike
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Description (in English)

The poem tantascoisasparadizer [somanythingstosay] is an electronic recoding of the visual poem with the same title, whereas in this version it has removed spaces that previously separated the words that hold its name. (Source: Author. Trans.: Seiça)

Description (in original language)

O poema tantascoisasparadizer é uma recodificação electrónica do poema visual com o mesmo título, aqui com supressão dos espaços que antes separavam as palavras que lhe dão o nome. A ideia era replicar em meio digital a poética interior ao texto que está na sua génese, o que considero ter sido conseguido. Isto, julgo, vem colocar em evidência o facto de o texto experimental partilhar, de certa forma, das premissas que estão na base da criação assistida por computador. No fundo, e sem ir muito longe nesta reflexão, é como se o poema visual tantas coisas para dizer fosse uma cristalização no espaço-tempo do poema electrónico tantascoisasparadizer. Mas, se virmos as coisas por outro lado, o poema visual não continha já em si uma ideia de movimento? Não estava, também ele, focado no processo? Não era já a sua natureza uma natureza performativa? Este poema foi construído com recurso ao software Processing e parti do código Text – Pulse, escrito por Bruno Richter e por ele partilhado em código aberto. Em larga medida, é a estas linhas de código que devo a existência visual e processual do meu poema. Poucas foram as alterações que fiz ao código deste outro Bruno; a base por ele construída está aqui toda, apenas lhe introduzi pequenas variantes. Às suas linhas de código acrescentei algumas outras de modo a incorporar áudio no poema. As vozes que se ouvem quando se navega no poema são as vozes da Célia e do Cristiano, dois seres cibernéticos que vivem dentro de ferramentas text-to-speech. O poema electrónico tem de ser corrido a partir do disco rígido do utilizador. O download pode ser feito através dos ficheiros abaixo, de acordo com o sistema operativo do/a utilizador(a). É provável que o anti-vírus instalado no computador salte no ecrã para avisar que os ficheiros são perigosos. Mas, asseguro: digam o que disserem, a poesia ergódica não é assim tão prejudicial. (Source: Author)

Description in original language
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Description (in English)

## 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.

Pull Quotes

#### we want to split
#### our text into units
####
#### punctuation marks allow us
#### to treat them as words
####
#### consider the ellipsis
#### for example
####
#### spaces
#### on either side of certain

def tokenize_texts(texts)
return texts.map do |text|
text.gsub!(/(\w)([,.:;\/?!]|\.\.\.+)(\W)/i, ‘\1 \2 \3′)
text.split(‘ ‘)
end
end

#### words often come
#### after other words
####
#### we walk through our garden
#### counting pairs

def generate_frequency_table(tokenized_texts, n)
frequency_table = {}
tokenized_texts.each do |text|
text.each_with_index do |word, i|
if i+2 < text.length
# is there a word after this one?

end
end

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## READ WRITE GARDEN ### || J. R. Carpenter
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## READ WRITE GARDEN ### || J. R. Carpenter
Description (in English)

The Deletionist is a concise system for automatically producing an erasure poem from any Web page. It systematically removes text to uncover poems, discovering a network of poems called “the Worl” within the World Wide Web.

In the “Working Note” for Nets, Jen Bervin explains her impulse to play with Shakespeare’s sonnets “to make the space of the poems open, porous, possible.” Her 2004 collection presents bolded words from sixty sonnets, creating a new “net” of meaning, a visually and lyrically emergent poetic constellation. The technique of erasure, in which words are removed from a source text to reveal poems latent within it, came to prominence with the work of Ronald Johnson and Tom Phillips in the 1960s. It has come back into fashion in recent book-length poems, including Srikanth Reddy's Voyager, Janet Holmes's The MS of My Kin, Jonathan Safran Foer's Tree of Codes, Mary Ruefle's A Little White Shadow, and (just released as this project is being completed) Sonne from Ort by Christian Hawkey and Uljana Wolf. The Deletionist asks what will happen if the text being erased is itself already a Net.

The Deletionist takes the form of a JavaScript bookmarklet that automatically creates erasures from any Web pages the reader visits. A similar method has been used in Ji Lee's Wordless Web, which removes all text from Web pages, as well as applets that turn webpages into Katamari Damacy environments or Space Invaders levels to make a game of destroying language. Between such extremes and the everyday Web, The Deletionist finds a space of texts that amplify, subvert, and uncover new sounds and meanings in their sources. Neither an artificial intelligence nor a poetry generating system, The Deletionist has a repertoire for uncovering patterns and revealing the poetics at play within the cloud: from Project Gutenberg ebooks, to Facebook, to Bomb Magazine and Arts and Letters Daily, The Deletionist will willingly apply itself to any text set before it.

Source: authors work description

Technical notes

How to use The Deletionist

  1. Make sure your have your bookmark bar (or bookmark toolbar), at the top of your browser, open. The method of doing this differs for different browsers, but it is typically done from the "View" menu.
  2. Drag The Deletionist icon from the middle of this window onto the bookmark bar. (After doing this, you will have The Deletionist ready to run at any time.)
  3. Visit any Web page that interests you. NB: The Deletionist will provide the most striking results if there is some text on the page.
  4. Click The Deletionist bookmark on the bookmark bar to create an erasure poem out of the page.
  5. Repeat (3) and (4) as often as you like.
  6. If you find a particularly good page of the Worl, share it with friends or with us by sharing the URL, for instance, by tweeting the link to @thedeletionist with the hashtag #deletion.

How The Deletionist works:

The system reads and removes standard Web page text, but does not remove a few special classes of text, including text within image, within a canvas, within an iFrame, and on buttons.

The system is deterministic — there is no random element. The Deletionist chooses a method of erasure based on the properties of the Web page. So, for static pages, you can share a particular result with others by simply sharing the URL, and their loading the page, as with your reloading it, will produce the same result. However, if the page changes, the system may change its method of erasure.

The Deletionist works to make every page into a single poem. If the words that result are spread too thinly over a very long page (such as one that contains the text of an entire novel), try applying The Deletionist to a smaller excerpt of this text, such as a chapter.

Some pages can load extra content after the main page has loaded — Facebook and Twitter, for instance. Anything that has been loaded after The Deletionist has done its work will not be erased into a poem unless you click on The Deletionist again.

Some pages use this type of dynamic text loading, or other special means of displaying text, for everything. Many of Google's pages, including Google search results and Google News, are of this sort, and The Deletionist will not work on them.

 

 

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All Rights reserved
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Description (in English)

Content=No Cache is about the loss inscription. It talks about error messages. Its point of departure is a curious tag “content = no cache”. Placed in the html code it updates the contents of any on line page, erasing what was written before. It announces a new condition of writing. From now on it does not inscribe anymore. It just describes. Like Error Messages. Content=No Cache, deals with the letter new dimension and inquires the paradoxes of on line writing, through a collaborative of error messages submitted by its users.

(source: author)

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Description (in English)

An autobiography in the form of a Flash web poem. The user selects icons that launch textual and spoken poetic phrases, and gradually fill in the portrait of the author.

I ♥ E-Poetry entry
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By Jerome Fletcher, 17 June, 2011
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53-65
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Abstract (in English)

This article has two objectives. One is to give a clear example of the way in which practice and theory, or rather practice-as-research, can exist in a symbiotic relationship – each benefiting and illuminating the other. The second aim is to propose and map out an area of potential further research into the discursive positioning of e-literature. It draws on some of the thinking of Deleuze and Guattari around language and literature, in particular as it is articulated through a reading of them by Jean-Jacques Lecercle. In this respect it should be seen as a point of departure, not a presentation of findings. The article is an extended version of one I gave at Kingston University as part of the From Page to Screen to Augmented Reality Conference. The original article was designed to be delivered in conjunction with a video of a digital text work in performance. For this context I have taken some screenshots of that video and added them to the article. They will at least provide some sense of how the digital text work is displayed and how it functions.

Source: author's abstract

Description (in English)

database is an electronic reading device that deals with the inversed functionality of three electronic devices: a printer, a video camera and a database. Consequently, it raises issues about the erasure of text, the act of reading in real time (i.e., listening to a printed text), and physical databases. Through the opposition between presence x absence, recording x erasing, memory x forgetfulness, present x continuous time and reading x listening, we challenge the idea of the database as a non-linear and digital structure, and the printer as an output device as well as an information recorder. Critical for the connection of all these concepts is the idea of present time as a time that is always passing by.

(Source: 2002 State of the Arts gallery description)

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database
Description (in English)

A web page that slowly becomes corrupted. each time the page is visited, one of its characters is either destroyed or replaced.

(Source: Author's description)

The site includes an archive documenting the site's degeneration. After four days it had become unreadable. After four months, it had disappeared.

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Main page
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Original page
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After 4 days
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After 44 days