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@KarlMarxovChain
The Karl Marxov Chain responds to a word that users (or Pereira) seed it to guide its search through Karl Marx’s publications, as described. When it gets the seed word, it finds it in the text and takes not the next word, but the next two words. The first two words of this 3-gram are first two words of the tweet. It then takes not the last of these words, but the last two and searches the text for that pair of words. Then, of all of the times that those words appear together, it picks one at random, adds the last word to the chain, and then moves up a word. The result is that the probabilities are a bit more constricted, meaning that the tweet conforms a bit more closely to the original text, meaning it ends up sounding a bit more like normal English. The bot also cheats a bit and tries to make “complete” sentences (start with a word that has an initial capital in the source text and end with a period), but it’s not always successful. The source texts are also not the cleanest in the world, so it sometimes hiccups and tosses out typographical gibberish. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 21:23
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@MarkovChainMe
This bot use a Markov chain generator to produce tweets, but distinguish itself from other bots by responding to input from those who interact with it via Twitter. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 21:29
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Sootfall
This literary work created on Twitter could be labelled in different ways— twitfic (or twiction), alternate reality game, netprov, e-lit, e-poetry, or performance— and each label would contribute to an understanding of what this is without wholly capturing what it is. Launched on February 4, 2013, this month-long creative event is now complete. From what I can reconstruct, Gaines, Gass, and the rest of the development team conceptualized the setting, plotted out a timeline, created Twitter accounts for its main characters and launched “Sootfall.” As people found out about the event through social networks, they were able to follow its characters or read the stories as they unfolded around the #sootfall hashtag, a means to identify tweets used in many, but not all entries, because one of the challenges was to make the characters seem real— and why would someone randomly tag their Twitter entries without a plausible reason? Eventually the tag became a tacitly agreed upon way for the characters to refer to the event which was to change their lives so substantially.
Hannelen Leirvåg - 09.05.2013 - 21:36
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Metaphor-a-Minute
This Twitter bot generates a metaphor every two minutes (in spite of its name, since Twitter places limits on automated posting), and it is more than sufficient. The constraint provides a little breathing room to consider the metaphor before facing a new one. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 23:07
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Walt FML Whitman
This poetic mashup Twitter bot places Walt Whitman in conversation with contemporary people expressing their frustrations in social networks. To be precise, he repurposes Darius Kazemi’s “Latour Swag” code to remix two different Twitter sources: @TweetsOfGrass and original tweets with the #fml hashtag. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 23:13
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Willy Shakes
“Willy Shakes” was programmed by Joshua Strebel in 2009 and set into motion publishing the complete works of William Shakespeare on Twitter, calculating that “every 10 minutes a new line, 24/7/365. Should take about 2 years, 13 days… and finish around August 24th 2011.” (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 23:17
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Walt Whitman
“Walt Whitman” isn’t a bot, it is a constraint an anonymous scholar took on: to tweet a portion from the 1855 edition of Leaves of Grass (almost) every day, sequentially from beginning to end, over and over. I use the word “scholar” because of the foregrounding and choice of edition (which edition of Shakespeare is Strebel using?) and the method of the constraint which forces the scholar to read each line when cutting and pasting it. This discipline has the powerful impact of keeping the scholar’s mind focused on this poet’s work on a daily basis, re-discovering Whitman’s poetry over time, and gaining insight in the process. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 09.05.2013 - 23:24
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My Imaginary Well-Dressed Daughter
A Pinterest board where pinned fashion photos of children are captioned to tell the story of little Quinoa and her rich and fashion-savvy friends. While not exactly a narrative, the board does draw a picture of a family and its friends that simultaneously mocks both the fashion industry and the showing off of children that can happen in social media.
Jill Walker Rettberg - 21.06.2013 - 07:44
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The Child
DESCRIPTION FROM CRITICAL COMMONS: The materialization of text in an urban landscape is nowhere more in evidence than in French designer Antoine Bardou-Jacquet's video for Alex Gopher's The Child. Bardou-Jacquet's all-textual rendering of New York city borrows its basic concept from Jeffrey Shaw's Legible City project from the late 1980s, while stripping narrative volition away from the viewer. Whereas Shaw's project allows reader-users to simulate moving through geographically and architecturally correct streets of Amsterdam, Manhattan, or Karlsruhe on a stationary bicycle while reading the text of a story mapped onto buildings in the city, The Child delivers a high-speed chase through the streets of New York City with both landmarks and people rendered as all text. The tension that exists in these works hinges on the conflict between real and constructed environments, as well as the insistent interplay of surface and depth.
Jill Walker Rettberg - 28.06.2013 - 22:20
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L'altra
Alternate reality serial conducted on Facebook.
Jill Walker Rettberg - 30.06.2013 - 13:11
