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By Chiara Agostinelli, 15 October, 2018
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Abstract (in English)

We Descend: Archives Pertaining to Egderus Scriptor first appeared in electronic form in 1997, published by Eastgate Systems on a floppy disk as a Storyspace Reader for Macintosh computers; as of 2018, the work is available on the internet, encoded in HTML5 and CSS3, the latest in a series of at least a dozen necessary "upgrades" to its software instantiation. Throughout this period, techology for presenting archival material has continued to transform at an increasing rate. At the same time, previously unknown writings have come to light; new methods of processing writings have been developed; and certain assumptions guiding the preparation of previous volumes have had to be updated as well. This paper will focus on some of the most pressing issues facing the primary "minder of gaps" in such an enterprise, the Curator, of which Bill Bly is only the most recent. Perhaps the largest gap to be bridged in our comprehension of such an enterprise is that between the impression of tidiness and order that any "finished" instantiation — with its neatly labeled apparati, finding aids, annotations, and commentary — presents to the reader, in contrast to the extensive dithering, fussing, and floundering actually required to herd together a collection of writings that have been gathered and transmitted over a span of many generations. Once brought together, these texts must be arranged, sequenced, and linked to one another in an organization that facilitates their being read, understood (each by itself and as a member of a group), pondered, and then easily located again after being laid aside. The immaterial "space" defined by this "placement" of such "objects" in relation to each other — as if they were furniture and other appurtenances arranged in a room — is useless until its design can be mentally grasped by the reader, and some person must perform this essentially hospitalic function, that of welcoming the reader into the space inhabited by the writings of the Archives. In doing so, this hôtelier (the Curator, whether named or not), leaves a trace that itself can be "read". In We Descend, all such persons are regarded as of equal importance to the original Authors whose work the reader has come here to encounter. The first Curator was Egderus himself, a scribe who discovered a cache of ancient texts, to which he added writings by his contemporaries as well as his own recorded thoughts and memories, thereby creating the first "holdings" that form the kernel of the Archives now bearing his name. This process of amalgamation was recapitulated some generations later by an unknown Scholar who rediscovered the long-forgotten holdings of Egderus and passed it along, bridging the gap between Egderus and Bill Bly, whose mission has been to render the Archives into hypertext form.

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/614/Welco…

Description in original language
Description (in English)

Human + A.I. poetry.Generated by a computer. Edited by a human.05.2017 - 05.2018. One book a month.A limited edition boxset of 12 poetry books written in one year by digital poet David Jhave Johnston with neural net augmentation. ReRites is accompanied by a book of 8 essays written about the project. Published by Anteism Books, Montreal (2019).ReRites exhibit format also includes over 120 hours of neural-net text-generation videos, 15 hours of editing videos, and often includes a participatory performance component called ReadingRites.Installation views.

(Source: http://glia.ca/rerites/

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ReRites is a poetic intervention to demonstrate a cultural, altruistic, playful use of A.I..

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ReRites Limited Edition Hardcover Human +A.I. Poetry Boxset
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ReRites Human +A.I. Installation View
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ReRites (draft website 2018)
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ReRites (draft website 2018)
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Technical notes

The ReRites neural network code is adapted from three corporate github-hosted machine-learning libraries: Tensorflow (Google), PyTorch (Facebook), and AWSD (SalesForce). Huge corporations, for profit, mine language for strategic advantage, using their results to sculpt idioms and ideologies and impulses. 

Description (in English)

Story written in German, with English translation available, using pop-up windows containing text, images and sounds to tell small stories about North.

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Description (in English)

The third part of Jason Nelson's artgame trilogy.

Video games are a language, a grammar or linguistics of various texts. The sounds, the movement, the graphics, the rules or lack of rules, everything about a video game is a component of language.  A digital poetry game must combine all these elements, strange and interactive stanzas, crossed out and obstructed lines, sounds and texts triggered and lost during the play.  Indeed the game interface becomes a road to inhabiting the digital poem, to coaxing the reader/player into living and creating within the game/poetry space.

Using a top down, platform engine (without gravity) Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level’s poetic content is built from the document’s sub-sub texts and curious consequences. With Bill Gates’ letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro’s boyhood letter to the US president praising America and asking for money signals an opportunistic future.

 With ten levels, each with video poem prizes, and strange poetic narratives, this game is a sequel to “game, game, game and again game” and “I made this. You play this. We are enemies”.

I ♥ E-Poetry entry
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