As the genre is still unknown to many in the Netherlands, this article serves as an introduction to computer-generated poetry in the Dutch-language field of literary studies. Via an analysis of the canonical Taroko Gorge (Montfort) and its remixes, the article considers how three characteristics of generative poetry - namely temporality, overwriting, and remixing - play with the idea of authorship.
Generatieve dichtkunst is een genre dat voor velen nog onbekend zal zijn. In dit artikel biedt literatuurwetenschapper Hannah Ackermans een nadere kennismaking met deze vorm van e-poëzie. Via een analyse van de online gedichtengenerator Taroko Gorge van Nick Montfort bespreekt zij hoe drie kenmerkende eigenschappen van generatieve literatuur, namelijk tijdgebondenheid, overwriting en remixen, spelen met het idee van auteurschap. In hoeverre is er nog sprake van een auteur als een algoritme de gedichten creëert?
This presentation describes the process of remixing (recombining, reconceptualizing) sound artifacts and pioneering works of electronic literature no longer available- (…) The techne proposed here promotes new opportunities and challenges for moving forward with our conceptions and practices regarding sound based electronic literature.
(Source: ICDMT 2016)
Although This work was presented by Scott as being located in the library at the opening of the End(s) of Electronic Literature Festival Exhibition at The Arts Library. Its was in fact not a part of the official Electronic Literature Organization 2015: The End(s) of Electronic Literature festival, and yet it was there.
The meta-story of this "space-hack" should be seen in relation to the history of the physical object itself (TV), (Taroko-remix),e-poetry as well as Foucault work Discipline and Punish, Panopticism and the power institutions.
The digita part of the Take Gonzo was hosted on the secret sub folder together with to the rest of the digital works presented in the End(s) of Electronic Literature Festival Exhibition Kiosk.
This panel responds to the conference theme: “The end(s) of electronic literature” with three approaches, in theory and practice, for the use of sound as the basis for new forms of electronic literature.
These approaches are sound composition for intermedia, digital manipulation of the voice in new media writing, and remixing the under language of pioneering works of electronic literature. Each panel participant will present and discuss one of these different approaches.
Historically, sound has been overlooked, or worse, ignored, as a component of electronic literature. The “end(s)” of e-lit explored in this panel may provide new and interesting opportunities, however, to investigate and ameliorate this oversight.
In brief, this panel argues that live coding and live algorithms for generative text and sound, along with digital manipulation of voice, offer new approaches to new media writing. These can also be mixed or remixed with previous content and/or techniques to provide new forms of e-literature.
(Source: ELO 2015 Conference Catalog)