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Transculturation, transliteracy and generative poetics
author-submitted abstract:
What effect are the current profound changes in global communications, transport and demographics having on language and its readers and writers, those defined through their engagement with and as a function of language? What happens to our identity, as linguistic beings, when the means of communication and associated demographics shift profoundly? What is driving this? Is it the technology, the migration of people or a mixture of these factors?Language is motile, polymorphic and hybrid. Illuminated manuscripts, graphic novels, the televisual and the web are similar phenomena. The idea that the ‘pure’ word is the ultimate source of knowledge/power (a hermeneutic) was never the case. Don Ihde’s ‘expanded hermeneutics’ (1999), proposes, through an expanded significatory system, that what appear to be novel representations of phenomena and knowledge are, whilst not new, now apparent to us.
Fernando Ortiz (1947) proposed the concept of ‘transculturation’, which may offer possible insights in relation to these questions.
Simon Biggs - 21.09.2010 - 11:07
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The Experience of the Unique in Reading Digital Literature
Traditionally in literary criticism, importance has been laid on the uniqueness of the expression (the author says something that nobody else has said before, or, says something in a way that nobody else has done before) and the uniqueness of experience (my reading of a book is always different compared to any other readings). With digital literature we are facing a wholly new situation. Cybertextual literature possesses devices for creating a different textual whole for each reader and reading session. Even though the piece of computer code underlying the work remains the same, the surface level may be different on each and every run. In this situation the reader may truly face a unique text, something that nobody else may ever see.
I will ponder the consequences of this new textual condition, especially from the perspective of personal reception and interpretation. I will also present some examples of this sort of works, and classify certain main categories, such as truly unique vs. pseudo unique text, and text where uniqueness is created through programming alone, and such where (one or several) reader(s) is partly responsible.
Patricia Tomaszek - 12.01.2011 - 20:40
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List(en)ing Post
Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.
Eric Dean Rasmussen - 31.01.2011 - 12:04
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Kissing the Steak: The Poetry of Text Generators
Syntext, developed by Pedro Barbosa and Abílio Cavalheiro in the early 90s (later partially re-versioned on the World Wide Web), is a collection of fifteen computer programs from the 70s, 80s, and 90s that automatically generate various styles of poetry in DOS. Though the texts made by each of the programs are thematically unrelated, through these pioneering works by Barbosa, Nanni Balestrini, Marcel Bénabou, and others, each of the predominant fundamental attributes of text-generators is clearly divulged. Syntext, despite being primitive on the surface, powerfully brings to light the expressive possibilities, versatility, and variation within permutation texts, and provides sufficient evidence upon which a typology of computer poems can be established.
(Source: abstract of conference presentation)
Eric Dean Rasmussen - 31.01.2011 - 15:28
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The Heuristics of Automatic Story Generation
The intelligence of a story-generating computer program can be assessed in terms of creativity, aesthetic awareness, and understanding. The following approaches are evaluated with respect to these three criteria: simple transition networks, grammar-driven models, simulations, algorithms based on problem-solving techniques, and algorithms driven by so-called "authorial goals." The most serious deficiency of the discussed programs resides in the domain of aesthetic awareness. In order to improve on this situation, story-generation should not follow a strictly linear, chronological order, but rather proceed from the middle outwards, starting with the episodes that bear the focus of interest. The program should select as top-evel goal the creation of climactic situations, create the preparatory events through backward logic, and take the story to the next highlight, or to an appropriate conclusion through a guided simulation. This strategy is ilustrated in a "reverse-engineering," or generative reading of Little Red Riding Hood that simulates the reasoning of an imaginary computer program.
(Source: Author's website)
Scott Rettberg - 19.05.2011 - 17:03
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Third Hand Plays: The Comedy of Automation
Third Hand Plays: The Comedy of Automation
Eric Dean Rasmussen - 10.10.2011 - 14:47
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Generating Books: Paradoxical Print Snapshots of Digital Literary Processes
Since the advent of the internet, advocates and critics alike have heralded the end of the book. George P. Landow observed that hypertextuality and poststructuralism emerged at the same moment, both due to dissatisfaction with the printed book and hierarchal thought. Derrida argued the question of writing could only be opened if the book was closed. Consider, then, the paradoxical position of Vienna-based publishers TRAUMAWIEN. Recognizing that although the vast majority of the text produced by computer systems – protocols, listings, error logs, binary codes – is never seen or read by those who consume it, this text is internal to our daily thoughts and actions and is thus literary. TRAUMAWIEN conceives of the print books it publishes as snapshots of computer generated literary processes which would otherwise be disappearing as soon as they are written. This paper will discuss the iterative processes by which I generated one such book published by TRAUMAWIEN in 2010.
J. R. Carpenter - 25.11.2011 - 12:05
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Warfare and Conventionality: How avant-garde computer-generated text can be
Computer generated text has been considered warfare carried out against conventionality and was accordingly tagged “cybernetic Dadaism”, which seems to be obvious given that most computer generated text is nonsensical. However, there are attempts to have the machine generate meaningful text ideally indistinguishable from text by a human. This is where the problem starts. If a machine aims to be as good as a human writer, can it still afford to do what a human writer may aim at: writing like a machine? Wouldn’t any idiosyncratic style – which might in conventionally generated literature be understood as avant-garde – be perceived as a failure of the program? In other words: Can literature be avant-garde (or rather: advanced) in both, its way of production as well as its style? The lecture will discuss the issue with a closer look at Michael Mateas’ and Andrew Stern’s interactive drama Façade.
Jill Walker Rettberg - 09.12.2011 - 10:44
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New Directions in Digital Poetry
As poets continue to use digital media technology, functionalities of computing extend aesthetic possibilities in documents focusing attention on crafting verbal content. Utility of these machines and tools enables multiple types of compounded articulation (combinations of verbal, visual, animated, and interactive elements). Building larger public awareness of the mechanics of digital poetry, New Directions in Digital Poetry aspires to influence the formation of writing with media in literary society of the future, specifically as a record of a particular technological era.
Scott Rettberg - 24.01.2012 - 13:52
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Who Grabbed My Gorge
Who Grabbed My Gorge
Meri Alexandra Raita - 19.02.2012 - 19:52
