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1. The Work of Art in the Age of Mechanical Reproduction

   There exists a rift in contemporary culture of computational poetry generation. On the one hand, a vibrant poet-programmer scene has emerged around certain arts-focused conferences (e.g. ELO), online events (e.g. #nanogenmo/#napogenmo), spaces (e.g. NYC's Babycastles), and publication venues (e.g. Nick Montfort's Badquar.to). On the other, computer scientists working on Machine Learning, Natural Language Processing, and related fields publish scientific research on generating literary texts. The epistemological divide between these two groups can be seen most readily in the latter's focus on using empirical tests to assess work. These tests may be intrinsic (e.g. a quantitative measure of the linguistic features of computer-generated poetry), but they are often extrinsic (e.g. based on human judgments of whether a poem possesses qualities such as humor or coherence). Underwriting much (though not all) of this activity is the notion of the Turing Test and its assumed goal of computer-generated text that can pass as human-authored.

   Vian Rasheed - 12.11.2019 - 00:41