generative fiction

Description (in English)

As interactive writing and digital art are relatively emerging fields there remains considerable research areas to explore. One of the most pressing is the examination of how to re-think, translate and remake older creative works into new cultural and language contexts. This work was create for BleuOrange in Canada. And is an entirely new work loosely based Jason Nelson's This is How You Will Die generative fiction,  rethinking all aspects of the work in a French context.

Working with translators, Ariane Savoieand Lisa Tronca at BleuOrange in Quebec, the work developed new methods for rethinking and translating everything about a digital writing artwork. Specifically examining how the images, the motion, the interface, the animation, the sounds, and the interactivity, as well as the words, have to be re-created.  So once those models and methods were developed, an entirely new work was created, based loosely on This is How You Will Die, which comprised of re-combining 15 different stories through an interactive game engine, as well as numerous additional sections, graphic and audio work.

Pull Quotes

For the 'big win' we should read: 'Gros Lot For the "bonus wild" I know there is sound involve.. I don't know if we can switch it to French, but it should say: Bonus fou! 

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By J. R. Carpenter, 25 November, 2011
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Abstract (in English)

Since the advent of the internet, advocates and critics alike have heralded the end of the book. George P. Landow observed that hypertextuality and poststructuralism emerged at the same moment, both due to dissatisfaction with the printed book and hierarchal thought. Derrida argued the question of writing could only be opened if the book was closed. Consider, then, the paradoxical position of Vienna-based publishers TRAUMAWIEN. Recognizing that although the vast majority of the text produced by computer systems – protocols, listings, error logs, binary codes – is never seen or read by those who consume it, this text is internal to our daily thoughts and actions and is thus literary. TRAUMAWIEN conceives of the print books it publishes as snapshots of computer generated literary processes which would otherwise be disappearing as soon as they are written. This paper will discuss the iterative processes by which I generated one such book published by TRAUMAWIEN in 2010. GENERATION[S] expands upon a series of short fictions generated by Python scripts adapted (with permission) from two 1k story generators written by Nick Montfort, and incorporates GORGE, a never-ending tract spewing poetic paroxysms on food, consumption, decadence and desire, a hack of Montfort’s elegant poetry generator Taroko Gorge. There was only one rule in creating GENERATION[S]: No new texts. All the texts in this book were previously published in some way. The texts the generators produce are intertwined with the generators’ source code, and these two types of texts are in turn interrupted by excerpts from the meta narrative that went into their creation. Most of the sentences in the fiction generators started off as Tweets, which were then pulled into Facebook. Some generated comments which led to responses which led to new texts. All these stages of intermediation are represented in the print book iteration of GENERATION[S].

Pull Quotes

I set only one rule for myself in creating the book iteration of GENERATION[S]: No new texts. All the texts in the book were previously published in some way.

The texts the generators produce are intertwined with the generators' source code, and these two types of texts are in turn interrupted by screenshots from Facebook, excerpts from emails and blog posts, and other fragments of meta narrative which went into the individual sentences’ creation.

Publisher Referenced
Description (in English)

Excerpts from the Chronicles of Pookie & JR is a short fiction by J. R. Carpenter about her adventures with Montreal-based artist Ingrid Bachmann's hermit crab Pookie during the month June of 2009. Pookie's website is: http://digitalhermit.ca/ Pookie is also known as Pookie 14.Excerpts from the Chronicles of Pookie & JR is generated by a Python script adapted (with permission) from a 1k story generator written by Nick Montfort. In July 2009, in a blog post, Nick Montfort wrote: "J. R. Carpenter, author of Words the Dog Knows, Entre Ville, The Cape, and other fine works of e-lit, print, and xerography, has delightfully re-purposed one of my 1k story generators to have it tell stories involving her and a hermit crab named Pookie. The program has grown to about 2k, but it uses the same simple (and surprisingly effective) method as my first generator does: It simply removes all but 5-9 sentences from a sequence, eliding some of what's been written. Sometimes the reader is left to wonder who the hermit is."In July 2009, NYC-based artist/programmer Ravi Rajakumar ported the Python script into Javascript to create a web browser friendly version of the Chronicles of Pookie & JR. http://luckysoap.com/pookieandjr/In December 2010, Excerpts from the Chronicles of Pookie & JR and three other generators adapted from scripts by Nick Montfort appeared in a print book called GENERATION[S] published by Vienna-based TRAUMAWIEN.In November 2011, Laura Borràs Castanyer translated Excerpts from the Chronicles of Pookie & JR into Spanish and Catalan.

Part of another work
Pull Quotes

Excerpts from the Chronicles of Pookie & JR: JR has a friend over for drinks and forgets to introduce Pookie. Pookie watches, but what does he see?. The next morning, JR goes for a long walk; Pookie does not. The contents of JR's suitcase spill across the polished floor. Live and let live, Pookie's nonchalant attitude seems to suggest. JR cooks slowly, foraging in this strange kitchen. Pookie keeps his thoughts to himself. Pookie's full name is Pookie 14. To be continued...

Excerpts from the Chronicles of Pookie & JR: Previously, Pookie and JR had only ever met at parties. Pookie and JR exchange knowing glances. JR has been wearing the same shirt for days now. JR changes Pookie's water. Pookie makes a mess of his feeding dish. JR crumbles Pookie's hermit crab food pellets into bite-sized bits. Pookie will eat miniscule amounts of anything except meat and dairy. The cafe across the street is only noisy until eleven or so. Late one night, Pookie and JR listen to a chained dog's howls. Pookie's full name is Pookie 14. JR is in hiding. To be continued...

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Technical notes

To view the Python version, Download the file http://luckysoap.com/stories/PookieAndJR.zip to your desktop and unzip. On a Mac or Linux system, you can run the story generator by opening a Terminal Window, typing "cd Desktop", and typing "python filename.py". Hint: look for Terminal in your Utilities folder. On Windows, you will probably need to install Python first: version 2.6.5. Once Python is installed you can double click on the file and it will automatically launch and run in the terminal window. Every time you press ENTER a new version of the story will appear.

Contributors note

Excerpts from the Chronicles of Pookie & JR is a short fiction by J. R. Carpenter about her adventures with Montreal-based artist Ingrid Bachmann's hermit crab Pookie during the month June of 2009. Pookie's website is: http://digitalhermit.ca/ Pookie is also known as Pookie 14. Excerpts from the Chronicles of Pookie & JR is generated by a Python script adapted (with permission) from a 1k story generator written by Nick Montfort. In December 2010, Excerpts from the Chronicles of Pookie & JR and three other generators adapted from scripts by Nick Montfort appeared in a print book called GENERATION[S] published by Vienna-based TRAUMAWIEN.In November 2011, Laura Borràs Castanyer translated Excerpts from the Chronicles of Pookie & JR into Spanish and Catalan.

By Scott Rettberg, 24 May, 2011
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331-344
License
All Rights reserved
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Abstract (in English)

Balpe's essay details the conceptual background and implementation of his 2005 project Fictions d’Issy (Fictions of Issy) -- a generative narrative project installed in public spaces in the town of Issy, which included both narrative generated by Balpe's system and SMS contributions from passers-by.

Pull Quotes

What becomes of the narrative now that the novel is transported into an open space not only in one dimension that leads from a beginning to an end, but into all kinds of possibly available dimensions? What becomes of the time of narration? How can “meaning” be created in a text that comes from nowhere and does not go anywhere?

By way of the concept of generativity, computer technology ascribes a completely new capacity to the text: to be endless. If, however, from the human point of view the world is endless and inexhaustible, language is not; as soon as the world’s text ends, the world itself will reaffirm its presence; as soon as subjectivization wears off, objectivization will take over.

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