Search

The search found 17 results in 0.009 seconds.

Search results

1. Poemas no meio do caminho

   This  is a combinatory text. There are two versions of the text – two ways of reading it: horizontally and vertically. Both versions allow the reader to save her own textual production, and then to send that production to a weblog. The reader can recombine the text according to the paradigmatic axis of language: the reader selects, the machine morphs/combines. However,  some “obligatory” options resist. By quoting Dante, Poemas no meio do caminho is a metaphor of the reading practice: “poemas no meio do caminho da leitura” (“poems midway upon the journey of reading”). It suggests an ephemeral poetic construction that appears and vanishes in a click. On the one hand these poems destroy the sacredness of the poetic language; on the other they realize the poïesis.This work has won (ex-aequo) the 4t Premi Internacional "Ciutat de Vinaròs" de Literatura Digital.

   Patricia Tomaszek - 13.01.2011 - 17:49

2. Et null nynner

   Dette "cut up" diktet fortelles sakte, sakte i små hvite bokstaver på svart skjerm. Morten Skogly skriver selv at det er et "cut up" av dikt skrevet av ham, som "skriver seg selv (for den tålmodige)." Nesten som en skjermsparer kommer frasene fram, og skaper sammenhenger på skjermen som til tross for den tilfeldige sammensetningen nesten alltid gir mening. En stemme går igjen, en stemme som er engstelig: "Ikke forlat meg her", skriver den. Et null nynner er et eksempel på generativ poesi.

   Jill Walker Rettberg - 27.03.2011 - 13:13

3. Tema procura-se

   Textual engine, with sound, by Rui Torres, exploring the combinatorial technique in digital medium, integrating it in the multimedia animated poetry. 

   Rui Torres - 25.11.2011 - 18:40

4. Takei, George

   "Takei, George" is a remix of Nick Montfort's "Taroko Gorge," transforming Montfort's original meditative generative poem into a comment on pop culture, fandom, and contemporary politics.

   (Source: The ELO 2012 Media Art Show)

   Meri Alexandra Raita - 19.02.2012 - 18:14

5. Spine Sonnet

   Spine Sonnet” (the app) is an automatic poem generator in the tradition of found poetry that randomly composes 14 line sonnets derived from an archive of over 2500 art and architectural theory and criticism book titles.

   “Spine Sonnet” (the website) combines images of scanned book spines into stacks of 14 titles. Each time you refresh the browser you get a new combination.

   (Source: The ELO 2012 Media Show)

   Eric Dean Rasmussen - 26.04.2012 - 07:49

6. Argot, Ogre, OK!

   All of the prior remixes of Nick Montfort's _Taroko Gorge_ rewrote the text, while leaving Nick's code unchanged or almost so. I thought that was a shame. I also thought it was an opportunity! Since they all essentially consisted of word-lists plugged into a schema, I was able to remix them together on two axes at the same time:

   * Combining the word-lists of any two poems;
   * Mutating the stanza schema.

   I also took the opportunity to randomize the color schemes of the pages. (But not the font choices or the background imagery that some of the poems indulged in. Optima for everybody, I'm afraid.)

   Nick's original poem generates a constant ABBA-C pattern, with some extra B's thrown in. This page essentially invents a new pattern (for example A-, or BC-BA, or CCC, or so on) for each block. The code for the pattern is on the left, and the generated output is on the right.

   To answer the obvious question: Yes, this page really does execute the code that's displayed in the left column, and it really does generate the text in the right column.

   Scott Rettberg - 24.06.2012 - 15:09

7. The Policeman's Beard is Half-Constructed

   With the exception of this introduction, the writing in this book was all done by a computer. The book has been proofread for spelling but otherwise is completely unedited. The fact that a computer must somehow communicate its activities to us, and that frequently it does so by means of programmed directives in English, does suggest the possibility that we might be able to compose programming that would enable the computer to find its way around a common language "on its own" as it were. The specifics of the communication in this instance would prove of less importance than the fact that the computer was in fact communicating something. In other words, what the computer says would be secondary to the fact that it says it correctly.

   (Source: from Bill Chamberlain's introduction at Ubuweb)

   Scott Rettberg - 25.08.2012 - 14:13

8. Moment

   This is a generative poem you can visit for years and continue to find things to surprise and delight. It is structured around a text— aptly named as “a strand” (as in a fiber or rope made of letters or characters)— which is shaped by “aspects,” which are programmed structures that shape and transform the strands through color, animation, scheduling, formatting, and other transformations possible in DHTML. Considering there are 10 “strands” (plus a “user-fed strand”) each of which can be shaped by 36 different “aspects,” each of which can have multiple controls and toggles, you don’t have to do the math to realize that this is a work of staggering generative possibilities. Combined with a few randomization and combinatorial touches, this is a work that will always welcome you with fresh moments, inviting you to play with its structures. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 08.02.2013 - 19:24

9. Feed

   Our deeply ingrained need to trust language enables Feed to generate an endless simulacrum of social commentary cum mythopoeic narrative spontaneously from largely random associations of charged words. It presents cultural observation through the blind eye of chance. The blank passing moment becomes the creator of mythos. It allows us the opportunity to turn ambiguity into poetry, absurdity into satire, unexpected fortuitous alignments into insight. Feed chronicles the mechanisms of the chronicle rather than its subjects. It removes “realism” from the equation, flirting with the meaningless and parading arbitrary associations before the reader under the banners of archetype and metaphor. Feed historicizes, editorializes, moralizes, sings, dances, and wears funny hats, all in the name of “analyzing” its own inventions.

   (Source: Author's description for ELO_AI Conference)

   Scott Rettberg - 11.04.2013 - 11:04

10. House of Trust

    House of Trust is a generative poem that addresses issues of information access and control in the 21st century. It proposes that free libraries are houses of trust. At the same time, it brings up images of redaction and censorship as well as broaching many concerns about the technical developments associated with information sharing. House of Trust consciously positions itself in a tradition of e-literary work: it is based on Alison Knowles and James Tenney’s A House of Dust (1967), generally considered to be the first computer-generated poem, which had its beginnings at an informal Fluxus seminar in which Tenney demonstrated how the Fortran language could be employed in chance operations in artmaking. (source: ELO 2015 catalog)

    Julianne Chatelain - 29.11.2014 - 15:48

Pages