Search

The search found 9 results in 0.106 seconds.

Search results

1. 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

2. Leaving the City: Indra's Net V

   A HyperCard stack consisting of an interactive literary piece.  "Leaving the City" takes two works - a lecture on poetry, and a poem - and blends them via collocational algorithms.  The algorithm takes a word chosen and, based on the x-coordinates of the cursor, will randomly choose which text to move into.  By creating a branching work - the two texts flow in and out of each other based on the underlying scripts - these "collocational jumps" generate a unique text.

   Alexander Duryee - 27.07.2012 - 22:54

3. Feed

   Our deeply ingrained need to trust language enables Feed to generate an endless simulacrum of social commentary cum mythopoeic narrative spontaneously from largely random associations of charged words. It presents cultural observation through the blind eye of chance. The blank passing moment becomes the creator of mythos. It allows us the opportunity to turn ambiguity into poetry, absurdity into satire, unexpected fortuitous alignments into insight. Feed chronicles the mechanisms of the chronicle rather than its subjects. It removes “realism” from the equation, flirting with the meaningless and parading arbitrary associations before the reader under the banners of archetype and metaphor. Feed historicizes, editorializes, moralizes, sings, dances, and wears funny hats, all in the name of “analyzing” its own inventions.

   (Source: Author's description for ELO_AI Conference)

   Scott Rettberg - 11.04.2013 - 11:04

4. Abandoned and Recycled Electronic Literature: Jean-Pierre Balpe’s La Disparition du Général Proust

   his presentation addresses the fate of 1990s pioneering programs of electronic literature during the 2000s. What happened to 1990s electronic literature aesthetic theories and programs once its distribution shifted from floppy disks and CD-ROMs to the Internet? How did early authors of electronic literature revisit their work in light of the ubiquity of the Internet as a form of writing?

   Hannah Ackermans - 16.11.2015 - 10:13

5. Monoclonal Microphone: The Movie

   A looping video (c. 20 mins – time could be adjusted) that both explores the world of “Monoclonal Microphone” and also reveals certain processes from its open-ended manufacture/generation. The video zooms in and out of a large field of generated poems; shows the underlying program running (generating verses and searching for them with internet search); and provides some expository captioning for the project. More information can be found at http://programmatology.shadoof.net/index.php?p=works/monoclonal/monoclon... (Source: ELO 2015 Conference Catalog)

   Hannah Ackermans - 30.11.2015 - 10:08

6. Combination and Copulation: Making Lots of Little Poems

   Combination and Copulation: Making Lots of Little Poems

   Scott Rettberg - 27.04.2018 - 14:20

7. Articulations

   The poems in Articulations are the output of a computer program that extracts linguistic features from over two million lines of public domain poetry, then traces fluid paths between the lines based on their similarities. By turns propulsive and meditative, the poems demonstrate an intuitive coherence found outside the bounds of intentional semantic constraints.

   (Source: Counterpath catalog copy)

   Scott Rettberg - 03.10.2019 - 11:09

8. Instabilities 2

   Instabilities 2 [...] subjects a discontinuous text to various kinds of processing. The screen is divided into three sections which counterpoint each other. The top section consists of a video made by Hazel Smith comprising twelve short texts. The middle section consists of the same material processed in the program Jitter by Roger Dean, and involves various forms of overlaying, erasing and stretching of the words. In a third section of the screen the same texts together with others which do not appear in the top movie are processed in real-time by Roger Dean by means of a Text Transformation Toolkit (TTT) written in Python. The processing substitutes words and letters so that new text emerges, together with a spoken realization of some parts of the text, new and old. The pre-written fragments circle around the idea of social, historical, and psychological instabilities, but during the processing new instabilities syntactical, semantic, and phonemic also arise.  Improvised and composed music is performed by Roger Dean, Greg White, Phil Slater and Sandy Evans. In addition, computer-synthesised voices add an aural dimension to textual change.

   Hazel Smith - 20.03.2021 - 03:06

9. The Character Thinks Ahead

   The Character Thinks Ahead (version 2) by Hazel Smith and Roger Dean is focused on the computerized generation of creative writing using deep learning neural nets. It knits together visual, sonic, linguistic and literary elements that all interact with each other. Of the three dynamically rolling columns of text in the upper part of the screen, the middle presents three pre-composed poetic texts that suggest ideas, feelings and contexts to do with war, hierarchy and competition respectively. The two columns on either side display text generation using deep learning nets: in the left column the text is generated by character, in the other it is generated by word. In the bottom part of the screen there are also three distinct elements to the display. An animated word cloud in the middle highlights features of the ongoing texts. To the left of it is a dynamic spectral visualisation of a (pre-recorded) rendering of the live speech: this is live-transformed to provide a sonic output visualized spectrally on the right.

   Hazel Smith - 20.03.2021 - 08:17