generated

Newscomic recycles the news, re-mixes it, subverts and distorts it.
It takes live news feeds (RSS feeds) from major news sources, chops them up at random and puts the resultant text into speech bubbles in a comic. The comic illustrations reflect the current latest news, and are regularly updated to keep up with the news. The result is a disjointed comic, where the words and pictures don't quite fit but make their own story.

Often the story is quite surreal, but can by chance make sense, and even be quite revealing.
To make the story more fun, you can contribute by adding your own words and sentences (up to a hundred characters long). These replace the word 'the' and other characters in the speech text. You can use this to perhaps get your own views across, or to manipulate the story so it makes more sense to you. Your word or sentence is stored and seen by the world until the next person comes along, and adds their words, replacing yours.

The result is a unique combination of a disjointed news reader, and a live comic story builder. It enables you to get the gist of the latest news, and at the same time enjoy a surreal comic, one that you have contributed to.

The RSS feeds currently used are as follows:
Showbiz --> Daily Mail (TV/ Showbiz)
News --> Guardian (UK latest)
Politics --> BBC (UK Politics)
Football --> BBC (UK Football)
Arts --> Guardian (Arts)

(Source: http://davemiller.org/projects/newscomic/learn_more.php)

American politics isn’t usually poetic, but what happens when you throw in actual poetry? Behold, our political poetry generator. We’ve gathered the transcripts of the latest Republican and Democratic presidential debates, and programmatically stirred in hundreds of lines of classic poetry. Pick a candidate, poet, and style below, and see what beauty you can generate.

Computer-generated text embedded in a code poem based on a portion of the script for live performance of Etheric Ocean, by J. R. Carpenter, 2014.

A. is video reader grafted over a text generator : videos run depends on reading time of the text.

A. is proposed as an exchange for Les Objets d'Hélène by Gwenola Wagon, who wants to transform an heritage full wtih objects into a collection of stories over each object. I exchange this text generator with an Hélène's book, La douane de mer by Jean d'Ormesson.

A. is the last word of the fragment of the book readed by this generator. "La" is allways the begining and "A." is allways the end of the text.
(Source: project website)

Along with the possibility of technical reproduction provided by the printing machine the individualization of authorship came in the 18th century, as well as the invention of copyright. During the 20th century, a diversity of artistic attemps was undertaken in order to deconstruct individual authorship and the implied ideas about geniality and originality.

Started by Dada and continued by the Surrealists one can follow this development which now faces an expected culmination, caused by the rise of the digital media. Playing with identities, the availability of an endless amout of material and information on the Net, the possibility of copying without loss of quality, as well as anonymous and decentralized ways of distribution have formed a networked culture which often makes it impossible to identify a single author. And also the works are in a permanent state of re-work and variation.

"Generative art" is a special variation of this networked culture. Here, authorship very often is distributed to several contributors - for example the user, the programer, the artist who makes the concept and provides the environment, the authors of the re-worked 'original' material, and most import the computer(-program). A consequent handling of this kind of art, makes it hard to almost impossible to categorize it by parameters like "authorship" and "originality" on which not only the art world but also copyright is based.

The radio play "Automatically Generated Auhtorship" tries to relate in form and content to the described development. Four characters represent the different layers of discourse around the issue: a male and a female computer voice, as well as a male and a female human voice. The spoken text, noise and generative music compositions comprising the radio play have been rendered from a jump-cutting timeline. Although the content is seeded by the authors (Sollfrank & Didymus), the final form has been left purely to a software based music-engine to arrange.

The shock of jump-cutting, the un-fixing of order, creates new symbiotic meanings and relationships, manifesting not only as a disruption of the codes of listening, but also perhaps more importantly a 'bringing together' of ideas not (fully) intended by the artists. This act demonstrates the seductiveness of the timeline, and time based media in general.

Note from editor: Date is estimated. Cannot find work online.

The Girl with Skin of Haints and Seraphs is a polymorphic poem first implemented in a non-interactive form as the initial deployment of the Alloy algorithm for generative purposes within another system. It has been subsequently updated with each iteration of GRIOT and it provides a good example for tracing through the execution of an interactive polymorphic poem. As stated above, this polypoem is a commentary on racial politics, the limitations of simplistic binary views of social identity, and the need for more contingent, dynamic models of social identity.

The text provides a hypertext, free and non-sequential reading and enjoyment by the player, which should only follow these guidelines: Moving through the words in the two-dimensional plane has arisen on single page is totally free, both horizontally and vertically and also diagonally. [Taken from official website http://www.machinamniotica.altervista.org/18ipertxt00.htm ]

Machine Libertine is media poetry group. The method of our work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. The main principles of the group are formulated in our Machine Poetry Manifesto pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices. Machine Libertine had been founded in December 2010 starting with a video poetry called Snow Queen, a piece for British Council and presented recently at Purple Blurb series at MIT and Harvard. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957). We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.