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  1. A Ciberliteratura: Criação Literária e Computador

    A Ciberliteratura: Criação Literária e Computador

    Alvaro Seica - 23.08.2013 - 15:11

  2. TRANS.MISSION [A.DIALOGUE]: Locating Narrative Resonance in Transatlantic Communications Networks

    This paper locates narrative resonance in transatlantic communications networks through a discussion of one web-based work, TRANS.MISSION [A.DIALOGUE], a computer-generated narrative dialogue which propagates across, beyond, and through transatlantic communications networks. These networks engendered by generations of past usage come to serve as narrative structures for stories of place and displacement that resonate between sites, confusing and confounding boundaries between physical and digital, code and narrative, past and future, home and away.

    J. R. Carpenter - 01.10.2013 - 14:21

  3. La littérarité du code informatique TRANS.MISSION [A. DIALOGUE]

    Pour le numéro d’automne 2013 de la revue de littérature hypermédiatique en ligne bleuOrange, j’ai eu l’occasion de traduire l’œuvre TRANS.MISSION [A. Dialogue] de J. R. Carpenter. Créé en 2011, TRANS.MISSION [A. Dialogue] est un récit généré par un programme informatique, un fichier JavaScript écrit en HTML 5.

    J. R. Carpenter - 05.05.2014 - 11:05

  4. Cybernetic Serendipity

    Collection of computer-generated texts based on an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London in 1968.

    Scott Rettberg - 21.08.2014 - 11:39

  5. Whisper Wire: Code as a Medium for Sending and Receiving Un-Homed Messages Through Haunted Media

    This paper puts forward haunted media as theory of mediation able to address contemporary networked writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks which are both physical and digital, and which serve both as linguistic structures and modes of transmission and reception for computer-generated texts. These texts themselves are composed of source code and textual output. They are neither here nor there, but rather here and there, past and future, original and copy. The complex temporaility of this in-between state is further articulated through Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating between two states” (23). This theoretical framework for haunted media will be employed to discuss a web-based computer-generated text called Whisper Wire (Carpenter 2010).

    J. R. Carpenter - 04.10.2014 - 13:04

  6. Writing Coastlines: Locating Narrative Resonance in Transatlantic Communications Networks

    The term ‘writing coastlines’ implies a double meaning. The word ‘writing’ refers both to the act of writing and to that which is written. The act of writing translates aural, physical, mental and digital processes into marks, actions, utterances, and speech-acts. The intelligibility of that which is written is intertwined with both the context of its production and of its consumption. The term ‘writing coastlines’ may refer to writing about coastlines, but the coastlines themselves are also writing insofar as they are translating physical processes into marks and actions. Coastlines are the shifting terrains where land and water meet, always neither land nor water and always both. The physical processes enacted by waves and winds may result in marks and actions associated with both erosion and accretion. Writing coastlines are edges, ledges, legible lines caught in the double bind of simultaneously writing and erasing. These in-between places are liminal spaces, both points of departure and sites of exchange. One coastline implies another, implores a far shore. The dialogue implied by this entreaty intrigues me.

    J. R. Carpenter - 22.11.2014 - 21:44

  7. Once Upon a Tide: An Introductory Essay

    Not quite a short story, not quite a stage play, ‘Once upon a Tide’ is just one of those moments in literature when time … stands … still. When plot advances by simply refusing to budge. One of those waiting times, slack tides, great hollows within which heat intensifies, cold deepens, night thickens, fevers rage, or the sun continues its relentless blaze. Tension builds, and still nothing happens; neither the sight of a sail on the horizon nor the slightest breath of wind. It is within these long stillnesses that sailors’ yarns unravel. In Conrad’s Heart of Darkness (1899), the entirety of Marlow’s tale is recounted in one evening whilst sitting utterly still on the deck of a ship moored on the Thames. In the pitch dark and the heavy night air of the river, the narrator strains to discern meaning: ‘I listened, I listened on the watch for the sentence, for the word, that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips…’.

    J. R. Carpenter - 24.06.2015 - 11:36

  8. re: génération

    Since the rise of the mainframe computer, literary authors and critics alike have expressed anxiety about the computer’s ability to write narrative prose and poetry as well humans, or better. This lecture situates the contemporary digital literary practices of reading, writing, rewriting, and performing computer-generated texts within a broader social and historical context, dating to long before the advent of the computer. Christopher Strachey's 1952 Love Letter generator and Theo Lutz's The Castle generator are discussed in depth.

    J. R. Carpenter - 13.12.2015 - 12:33

  9. What Natural Language Generation Means for Authorship and Why We Should Care

    Natural language generation (NLG) – the process wherein computers translate data into readable human languages – has become increasingly present in our modern digital climate. In the last decade, numerous companies specialising in the mass-production of computer-generated news articles have emerged; National Novel Generation Month (NaNoGenMo) has become a popular annual event; #botALLY is used to identify those in support of automated agents producing tweets. Yet NLG has not been subject to any systematic study within the humanities.

    leahhenrickson - 13.08.2018 - 21:09

  10. How Computers Read Computer Generated Novels

    In this paper, Whalen proposes a course of study into the textuality of computer-generated novels, specifically the corpus of work generated for NaNoGenMo. Given the scope of this corpus, Whalens' intention is to use text analysis techniques such as topic modeling, frequency analysis, stylometrics, and other varieties of machine reading to explore these questions about the textual characteristics of computer-generated fiction. 

    sondre rong davik - 29.08.2018 - 15:29

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