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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 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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The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore
"The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.
J. R. Carpenter - 16.10.2012 - 14:52
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Auto/onto-poiesis
The focus of many of my generative poetic artworks is identity. These works address this theme through the use of interactive systems, where the relationship between the viewer and the artwork is explicit and active. This act of interaction functions to raise questions concerning being and, through the process of communication, the linguistic foundations of identity.
Luciana Gattass - 07.12.2012 - 11:24
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Call and response: Towards a digital dramaturgy
In support of their belief that the truest test of a methodology is to apply it to a new set of questions/practices, Barbara Bridger and J.R. Carpenter embark on a conversation about Carpenter’s computer-generated dialogue: TRAINS.MISSION [A.DIALOGUE]. As they attempt to find language appropriate to an extended notion of dramaturgy capable of both contributing to and critiquing a digital literary practice, their calls and responses to one another come to perform the form and content of the dialogue in question. The resulting discussion provides an example of putting performance writing methodology into practice.
J. R. Carpenter - 23.06.2014 - 13:28
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The Poets' Dream Database
In December of 2013, I mailed blank journals to thirty poets and asked them to record their dreams for two months and return the journals to me. I asked that they record the dreams themselves rather than their interpretations, relying on language, voice, and syntactical rhythm to emerge as distinctive markers. From the dream journals I compiled the dreams into a spreadsheet database, setting the linear retelling of the dream along the horizontal axis (rows) in chronological order, color-coded by poet. Ciphering the dreams into single cells was the true editorial work of the matrix. Even as poets were creating their own patterns, I was reorganizing dialogue, bisecting idioms, segmenting narrative apparitions. Phrases and snippets of these dreams were now decontextualized into raw form, phrases and words shaken out of their former constellations to become single pure poetic units. After the dream journals had been reorganized into the matrix, they could be used to generate new poetic material.
Hannah Ackermans - 28.11.2015 - 14:04
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On Memory, the Muse, and Judy Malloy's its name was Penelope
This chapter is a contribution to the book, Rebooting Electronic Literature: Documenting Pre-Web Born Digital Media. It documents Judy Malloy's generative hypertext work, its name was Penelope, a remediation of Homer's Odyssey, which has so far appeared in four editions: (1) the original 1989 version ("exhibition version"), created with Malloy's own generative hypertext authoring system, Narrabase II, in BASIC on a 3.5-inch floppy disk; (2) a substantially revised Narrabase version, published in 1990; (3) the "Eastgate version" published on floppy disk and CD-ROM in 1993 and 1998 respectively; and (4) the "Scholar's version," which is a DOSbox emulation created under the auspices of the Critical Code Studies Working Group in 2016.
Astrid Ensslin - 06.06.2018 - 00:46
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Electronic Literature in the Anthropocene
Contemporary environmental traumas are placing formidable demands on the creative arts when it comes to interrogating their kaleidoscopic complexities and implications. Electronic literature that engages topics of climate, infrastructure, and nonhuman agency is in a promising position here, due to its recasting of extent literary and poetic traditions using the architectures of contemporary digital computing and communications infrastructure. These technologies are involved not just in measuring and mapping a rapidly degrading environment, but their developmental histories and continued functioning are implicated in both embedding and perpetuating the very effects being detected.
Richard Carter - 31.10.2019 - 18:00
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Generated Texts: Reading Strategy and Interpretational Options
The paper is devoted to the reading and critical reflection of the generated electronic literary texts. From the structural point of view all textones of generated texts can be divided into standard schemes or patterns (word combinations or the whole sentences that are switched according to the software algorithms). Authors use these schemes to make generated texts close to the natural human language. If we look closer, for example, at generative elit works, most of their verbal patterns look like meaningful expressions. But what makes them meaningful and what kind of meaning can readers get from these patterns? Is it possible to catch the esthetic idea of the whole generated work analyzing these verbal patterns? One of the strategies to reveal the author’s aesthetic concept of the generated work is to identify the key words grid of the separate textone as well as of the whole work. The key words grid allows to catch the thematic dominant and then move to the interpretive strategies of the whole literary work.
(Source: the work itself)
Lene Tøftestuen - 24.05.2021 - 17:01
