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windsound
John Cayley’s “windsound” is an algorithmic work presented as a 23-minute recording of a machine-generated reading of scrambled texts. The cinematic work presents a quicktime-video of white letters on a black screen, a text written by Cayley with a translation of the Chinese poem “Cadence: Like a Dream” by Qin Guan (1049-1100). As a sensory letter-by-letter performance, the work sequentially replaces letters on the screen, so that what starts as illegible text becomes readable as a narrative, and then again loses meaning in a jumble of letters. Cayley calls this technique “transliteral morphing: textual morphing based on letter replacements through a sequence of nodal texts.” Sequences of text appear within up to 15 lines on the same screen, thus presenting and automatically replacing a longer text on a digitally simulated single page-a concept Judd Morrissey also applies in "The Jew´s Daughter." Unlike Morrissey’s piece, Cayley’s doesn´t allow the user to interact with the work.
Patricia Tomaszek - 24.02.2011 - 17:19
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ACITEOP. Disfunciones poéticas del lenguaje.
Roman Jakobson defined the poetic function of language as being governed by principles of selection and order. Under this vision the poet is in charge of selecting and organising words in a particular way in order to achieve a poetic effect.
ACITEOP is a programme that groups together different experimental tools used for constructing poetic narratives, both textual and visual, through the deconstruction of the poetic function of language using different algorithms.
The result, which is different with each reading or interaction, is both a deconstructed text and a brand new piece of work generated from that same process of deconstruction.
This first version is a simple example of the programme that creates a narrative based on text, sound and images, which begins with the deconstruction of the poem "Between What I See and What I Say" by Octavio Paz, who dedicated the poem to the Russian linguist Roman Jakobson after his death.
Pelayo - 19.05.2011 - 13:34
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Searchsonata 181
Die SearchSonata 181 ist der letzte Teil der SEARCH TRILOGIE (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181, 2011), die algorithmisch generierte Texte aufführt. Konstante dieser Trilogie ist die Verwendung von Worten, die gerade in Suchmaschinen wie Google & Co. eingegeben werden. Diese Suchworte werden algorithmisch verarbeitet.
Im ersten Teil, bei searchLutz!, zu Texten, im zweiten, bei searchSongs, zu Tönen und im letzten, der searchSonata 181, zu Lauten, die ja die akustische Brücke bilden zwischen Text und Ton. Das Webinterface der searchSonata 181 ist nur Mittel zum Zweck. Das Eigentliche entsteht, wenn die algorithmisch generierten Texte live durch eine Sprecherin performt werden. Die Botschaft muss durch den Algorithmus hindurch, ohne dort hängen zu bleiben.Beat Suter - 01.10.2011 - 13:46
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Collocations: Indra's Net II
A collection of texts, which combine based on next-word branching (similar to Leaving the City). By taking a given word on a page, an underlying script will find all other instances of that word in the supplied corpus, and randomly determine which work's text to shift into.
Collocations is an anthology consisting of:
"Under It All 2"
"A Refinement of Language"
"Indra's PoemPoem"
"Critical Theory"
Each of these uses similar methods of generating acrostic text to create the final work.
Alexander Duryee - 29.07.2012 - 04:05
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Search Trilogy
The SEARCH TRILOGY (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181 , 2011) performes algorithmically generated texts. The consistency of this trilogy is the usage of words that are typed in real time into searchengines like Google & Co. These search terms are processed by algorithm for further use. In the first piece of work, searchLutz (2006), the search terms are processed into texts, in the second piece, searchSongs (2008), into sounds and melody, and in the latest piece, searchSonata 181, into phonetics as an acoustic bridge between text and sound. The web interfaces of search Lutz!, searchSongs and searchSonata 181 are a means to an end. The essence emerges with a live performance of the algorithmically generated texts. The texts are played back into real space: the message has to pass through the algorithm without getting caught there.
Elisabeth Nesheim - 12.08.2012 - 12:13
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Labylogue
Labylogue est un espace de conversation.
Dans trois lieux différents reliés par Internet, Bruxelles, Lyon , Dakar , les visiteurs déambulent dans un labyrinthe virtuel en quête de l’autre.
Deux à deux ils dialoguent en français.
A mi-chemin entre le livre et la Bibliothèque de Babel de Borgès, les murs se tapissent de phrases générées en temps réel, qui sont autant d’interprétations du dialogue en cours. A son tour le texte fait l’objet d’une interprétation orale qui anime l’espace du labyrinthe tel un choeur de synthèse qui vagabonde sur les rives de la langue en action.
La médiation numérique introduit dans la communication des couches d’interprétation qui échappent à l’intention brouillant parfois le sens. La parole reprend alors ses droits. Elle glisse sur l’interprétation de la machine en privilégiant le contact là où la trace écrite dérive.rive.
Patricia Tomaszek - 23.08.2012 - 13:20
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Search Lutz!
More than 50 years ago a calculator generated a literary text for the first time ever. This happened in Stuttgart, Germany. In 1959 Theo Lutz wrote a programme for Zuse Z22 to create stochastic texts. Following Max Bense’s (Stuttgardian philosopher) advice, he took sixteen nouns and adjectives out of Kafka’s "Schloss," which the calculator then formed into sentences, following certain patterns. Thus, every sentence began with either "ein" or "jeder" ("one" or "each") or the corresponding negative form "kein" or "nicht jeder" ("no" or "not everybody"). Then the noun, selected arbitrarily from the pool of sixteen given nouns, was linked through the verb "ist" ("is") with the likewise arbitrarily chosen adjective. Last, the whole construction was linked up through "und," "oder," "so gilt" ("and," "either," "thus") or given a full stop.
Johannes Auer - 05.11.2012 - 12:29
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The Famous Sound of Absolute Wreaders
A project by Johannes Auer for the ORF Kunstradio, Vienna. With: Reinhard Doehl, Sylvia Egger, Oliver Gassner, Martina Kieninger, Beat Suter und René Bauer Performer: Christiane Maschajechi, Stuttgart Peter Gorges, Stuttgart
6 net authors generate a text on the others' web projects. 2 narrators/announcers perform the texts in form of a collage, remix, dialogue and (white) noise. 6 net authors form a new netart projects using the texts of the others. The radio version of this net project consists of four parts which add up to a radio play that represents different grades of (human) control: Part 1 is a kind of hand-made collage of the complete written material and, thus, is controlled "by human". For Part 2, the text modules of this collage were re-assembled by the computer (randomly "generated") - human control was abandoned. In Part 3, the announcers comment on this computer-generated collage - bringing human control back in (but at the same time infiltrating the meaning of authorship). In Part 4, finally, the announcers themselves lose control due to t heir being under the influence of alcohol ...Johannes Auer - 05.11.2012 - 13:15
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Stochastische Texte
At this stage we shall report on a program which the author recently executed on the electronic mainframe ZUSE Z 22 at the T.H. Stuttgart computer center. The machine was used to generate stochastic texts i.e. sentences where the words are determined randomly. The Z 22 is especially suited to applications in extra-mathematical areas. It is particularly suited to programs with a very logical structure i.e. for programs containing many logical decisions. The machine's ability to be able to print the results immediately, on demand, on a teleprinter is ideal for scientific problems.
(Source: Theo Lutz, "Stochastische Texte", in: augenblick 4 (1959), H. 1, S. 3-9)
Johannes Auer - 09.11.2012 - 10:49
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pleintekst.nl / plaintext.cc
"pleintekst.nl" is an intelligently designed, highly conceptual text generator. "Pleintekst" works on text material with a set of algorithms for text transformation and typography. It mixes fragments of real time data from the operating computer system with passages from George Battaille’s "History of the Eye" (mind words like "pussy" and "milk") and with an email dialogue between Cramer and Mary Anne Breeze. The machine is continuously started by interpassively clicking in any active field. Beyond, you may read, observe, associate and speculate over the profound reasoning behind the project, get frustrated or simply leave things to fend for themselves.
(Source: Friedrich W. Block: Paper given at the "Archive&Innovate" conference
of the Electronic Literature Organization at Brown University, Providence, June 3-6, 2010)Johannes Auer - 09.11.2012 - 16:43
