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1. Evolution

   Evolution is a online artwork that emulates the writing and compositions of poet and artist Johannes Heldén. The application analyzes a set of all published text- and sound-work by the artist and generates a continuously evolving poem that simulates Heldéns style : in vocabulary, the spacing in-between words, syntax. In this performance, the digital version of artist meets the original. The aim is to raise questions about authenticity, about the future, about physics and science fiction.

   (Source: http://chercherletexte.org/en/performance/evo-lution/)

   Alvaro Seica - 25.09.2013 - 12:22

2. ...and by islands I mean paragraphs

   "...and by islands I mean paragraphs" casts a reader adrift on a sea of white space extending far beyond the horizon of the browser window, to the north, south, east and west. Navigating (with mouse, track pad, or arrow keys) reveals that this sea is dotted with islands... and by islands I mean paragraphs. These paragraphs are computer-generated. Their fluid compositions draw upon variable strings containing fragments of text harvested from a larger literary corpus - Deluze's Desert Islands, Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, Bishop's Crusoe in England, Coetzee's Foe, Ballard's Concrete Island, Hakluyt's Voyages and Discoveries, and lesser-known sources, including an out-of-date guidebook to the Scottish Isles and an amalgam of accounts of the classical and possibly fictional island of Thule. "Individually, each of these textual islands is a topic – from the Greek topos, meaning place. Collectively they constitute a topographical map of a sustained practice of reading and re-reading and writing and re-writing islands. In this constantly shifting sea of variable texts one never finds the same islands twice... and by islands, I do mean paragraphs."

   J. R. Carpenter - 28.09.2013 - 13:51

3. “The Dead Must be Killed Once Again”: Plagiotropia as Critical Literary Practice

   Húmus by Herberto Helder (1967) is recognized for its direct quotation from Raul Brandão’s 1921 poem of the same name. However, Helder’s work is more than the simple intertextual suggestion of a text: it transforms it, putting into motion its latent power, reviving it. As may be read in the epigraph of this work, the "words, sentences, fragments, images" from Húmus are used by Helder in order to achieve, through re-writing, a full reading of the text by Brandão. Such reading multiplies and transforms the meanings that are crystalized in the work by Brandão, thus articulating the scope the poet refers: "freedoms, freedom."

   Alvaro Seica - 28.11.2013 - 15:04

4. Random Access Memory

   Random Access Memory is a "dyslexic" text generator that sources its information from the Web. There is an English and a French version.

   Jill Walker Rettberg - 22.04.2014 - 19:25

5. Story Machine

   This simple, animated story-generator was targeted at young children learning to read and write. It had a limited 40 word vocabulary and could either run automatically, or the user could type in sentences using the set vocabulary. As the user typed, the characters would appear in the illustration window, and when the user typed the period at the end of a sentence, the action described would be animated.

   Jill Walker Rettberg - 29.04.2014 - 05:13

6. Spam Heart

   "A combinatoric poem composed by cut and splicing arrays. "Generative poems built out of spam, code, thesis work and a little bit of language's heart." Coded in Flash in 2010."

   Source: Artists desciption

   J. R. Carpenter - 31.05.2014 - 11:56

7. DataFiction v0.1

   We live in an age of big data, when much of what we say and do is captured and stored in vast, searchable databases. What is the future of the novel – that most personal and intimate of artforms – as private lives are increasingly turned into public data?

   DataFiction v0.1 is part of a major new collaboration between myself and artist Andrew Burrell that aims to create a real-time, data-driven novel. These excerpts of generative, network-sourced prose were presented as early work-in-progress, with the aim of inciting audience interest and critical feedback.

   Jill Walker Rettberg - 20.06.2014 - 00:09

8. 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

9. Bacterias Argentinas

   Bacterias argentinas is a dynamic model of autonomous agents that recombine genetic information eating one each other and where the genetic information is a narrative. The energy and staff circulate. Word is energy. A version of this model was used in the exhibition Juego doble (Double Game) in Mexico D.F. (Source: Maya Zalbidea) In bacterias argentinas Colombian digital artist and data visualization developer Santiago Ortiz creates a linguistic-multicellular environment that models the interactions between basic organisms in a virtual ecosystem. In Ortiz’s words, it is “a dynamic model of autonomous agents that remix genetic information by consuming one another, and in which genetic information is narrative.” In this Flash work, Ortiz explores the question of life as information by mapping linguistic elements onto color-coded “bacteria” that circulate freely in this bio-linguistic ecology.

   Maya Zalbidea - 18.07.2014 - 22:05

10. Questions d'amour et de poésie

    « Questions d’amour et de poésie », un programme générateur de Jean-Pierre Balpe et Henri Deluy créé en 1994, est disponible sur le dossier « Kaos-Action Poètique » qui se trouve sur le CD-ROM de KAOS 3. En ouvrant le fichier 3, on lance le programme « Question d’amour et de poésie ». Le premier écran qui s’ouvre présente une image d’une femme dessinée. Si on clique sur cette image, une nouvelle page s’ouvre avec le « texte » du programme. Ce texte-poème est divisé en trois parties : une strophe initiale de trois vers, une strophe suivante d’environ huit vers, et enfin une dernière strophe de dix-huit vers. À droite, on y trouve un bouton « Générer un texte » et à côté de ce bouton un autre bouton « Partir ». Chaque bouton est illustré aussi : sur « Générer un texte » on y trouve l’image d’un œil et sur « Partir » une bouche. Ce qui est plus important c’est que chaque image sur ces boutons semble venir d’une autre image sur l’écran. En bas à droite, il y a une double image de la tête d’une femme dessinée. Il paraît que cette image doublé est de la même femme. Cependant, une de ces images de la femme est un peu plus déformée.

    Dakota Fidram - 30.10.2014 - 04:13

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