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My Mother Was a Computer: Digital Subjects and Literary Texts
We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles’s latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices.
Eric Dean Rasmussen - 14.03.2011 - 21:07
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The ppg256 Series of Minimal Poetry Generators
I discuss the four Perl poetry generators I have developed in the ppg256 series. My discussion of each program begins with the entire 256 characters of code and continues with an explication of this code, a description of aspects of my development process, and a discussion of how my thinking about computation and poetry developed during that process. In writing these programs, I came to understand more about the importance of framing to the reception of texts as poems, about how computational poetic concepts of part of speech might differ from established linguistic ones, about morphological and syntactical variability, and about how to usefully think about possible texts as being drawn from a probability distribution.
(Source: Author's abstract)
Scott Rettberg - 26.03.2011 - 17:39
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Io Sono at Swoons
Io Sono at Swoons
Eric Dean Rasmussen - 30.05.2011 - 15:56
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Creativity Support for Computational Literature
The creativity support community has a long history of providing valuable tools to artists and designers. Similarly, creative digital media practice has proven a valuable pedagogical strategy for teaching core computational ideas. Neither strain of research has focused on the domain of literary art however, instead targeting visual, and aural media almost exclusively. To address this situation, this thesis presents a software toolkit created specifically to support creativity in computational literature. Two primary hypotheses direct the bulk of the research presented: first, that it is possible to implement effective creativity support tools for literary art given current resource constraints; and second, that such tools, in addition to facilitating new forms of literary creativity, provide unique opportunities for computer science education.
Patricia Tomaszek - 04.07.2011 - 00:40
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Commenting Creative Code
We consider how authors have added comments to electronic literature and how the facility for commenting code has been, and could be, used in unconventional yet productive ways by those working in the literary arts. Our central example is a gloss that we wrote, using JavaScript comments, to discuss the code for our poetry generator, “Sea and Spar Between”: http://blogs.saic.edu/dearnavigator/winter2010/nick-montfort-stephaniest... between/ As this generator is offered for anyone to use in future projects, it was originally written with some JavaScript comments to facilitate reuse. These were extensively expanded in an edition of the poem we call “cut to fit the toolspun course,” now under consideration for a special issue of Digital Humanities Quarterly on “The Literary.” The issues we encountered in writing this extensive, poetic gloss using comments will be central to our discussion.
Eric Dean Rasmussen - 22.06.2012 - 12:59
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Programming for Fun, Together
Ever since computers have been programmed, people have programmed them together. From almost the first days of programming, people have also programmed them unofficially, for fun, to create literary and artistic works, games, and technically impressive feats that suggest new directions for computing.
This paper look into how programmers have worked together in the area of creative computing, and provide a brief discussion of three types of creative programming practices.
Elisabeth Nesheim - 09.08.2012 - 20:01
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The Fundamentals of Digital Art
The book examines the way digital technology is forcing a complete rethink of creative priorities for artists in the twenty first century. Written from an artist's perspective, the author has had the cooperation of many important practitioners in digital arts in countries across the world. The book is written in an accessible style and alongside examples of work offers practical know-how that will enable to reader to begin using some of the methods described for themselves.
The Fundamentals of Digital Art has six sections and each of these takes a specific aspect of the subject.
Historical perspectives
Dynamic “live” art
The use of data sources in art
The place of programming languages
Network considerations
Hybrid practice and the blurring of specialist boundaries.176 Pages with 150 colour illustrations
Source: book presentation on accompanying website
Patricia Tomaszek - 27.08.2012 - 17:06
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The Problem of Form: Transitoire Observable, a Laboratory for Emergent Programmed Art
I will present some conceptions of programmed art focused on the problem of form. I will not explain here the different approaches but only open the question in the perspective of the procedural model. I will start from the basic common point of view of the collective Transitoire Observable and, after an overview of some aspects of the procedural model, I will pose the question of form as a specific management in the programming of arbitrary aesthetic constraints that are posed by the author in his management of the situation of communication created by the work whatever the surface aesthetics is on screen. In this sense, we will speak of “programmed forms” as forms in programming and not as forms of the programmed multimedia event.
Source: author's abstract in book publication
Kristine Turøy - 28.08.2012 - 11:38
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Way Out of the Box
Computer people don't understand computers. Oh, they understand the technicalities all right, but they don't understand the possibilities. Most of all, they don't understand that the computer world is entirely built out of artificial, arbitrary constructs. Word processing, spreadsheet, database aren't fundamental, they're just different ideas that different guys have whomped up, ideas that could be totally different in their structure. But these ideas have a plausible air that has set like concrete into a seeming reality. Macintosh and Windows look alike, therefore that must be reality, right? Wrong. Apple and Windows are like Ford and Chevrolet (or perhaps Tweedledum and Tweedledee), who in their co-imitation create a stereo illusion that seems like reality. The computer guys don't understand computers in all their manifold possibilities; they think today's conventions are how things really are, and so that's what they tell all the new victims. So-called "computer literacy" is an illusion: they train you in today's strange conventions and constructs-- (Desktop? This to you looks like a desktop? A vertical desktop?) --and tell you that's what computers really are.
Luciana Gattass - 24.10.2012 - 15:44
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A Response to Nick Montfort's "Programming for Fun, Together"
A response to Nick Montfort's "Remediating the Social" keynote talk. Rettberg was subsituting for Rita Raley, who was unable to attend the conference due to Hurricane Sandy's impact on New York. Rettberg provides two examples of collaborative procedural writing practices as a contrast to the social programming examples such as the Demoscene Montfort discusses, and some followup questions on the four main points of Montfort's essay.
Scott Rettberg - 02.11.2012 - 09:10
