The proceedings of the June 12-14, 2012 Paris conference on the translation of electronic literature are now online. These include a paper by Natalia Fedorova and myself, “Carrying across Language and Code.” The conference took place at Université Paris 8 Vincennes-Saint-Denis and Université Paris Diderot, and encouraged me and collaborators to undertake the Renderings project, the first phase of which is now onlne.
It’s also in Polish, and should serve to inspire Anglophones! As my colleagues in Ubu’s homeland explain:
Last November, the independent Polish publishing house Korporacja Ha!art devoted an issue of its quarterly to the demoscene, a hacker subculture dedicated to creating multimedia computer programs on retro platforms. What we attempt to chronicle is a half-forgotten, mostly European scene of hard-core coders and ephemeral groups, who dedicate hundreds of sleepless nights with their Amigas and Spectrums, trying to outdo one another, to write terser code, to come up with new visual effects, to wow the audience. In the pre-Internet era, they even came up with their own publication and distribution channels. Always eager to present what is little known and under-researched, we trace the roots of the movement in the 1980s and its growth in Piotr Czerski’s exhaustive article; we look more closely at various platforms that formed the core of demoscene (Amiga, ZX Spectrum, Commodore) and at Polish wizards of code (some of whom, interestingly, looked up to Russian hackers); our authors tackle all sorts of ideas from the interplay between demoscene and glitch to schizophrenia as a tool of interpretation in media analysis. They also ponder the problematic relations between flashy, seemingly puerile demoscene productions and digital literature in an attempt to find the missing link in the evolution of electronic art. Trips down the memory lane by Jakub Noniewicz and Yerzmyey let us see demoscene forays into the world of (often irreverent) short stories and generative poetry. In fact, this kind of textual approach to demoscene has not been attempted before. We show how coders, working collaboratively, used computationality and tried multiple genres to bring the lexical and the audiovisual together. Last but not least, the perspectives of guests from across the Atlantic, Val Grimm and Nick Montfort, show how demoscene is, at heart, about breaking free from societal constraints. The issue is part of Korporacja Ha!art’s effort to present seminal scholarship in digital media.
The demoscene is a mainly European subculture of computer programmers, whose programs generate computer art in real time. The aim of this report is to attempt a description of the textual dimension of the demoscene. The report is the effect of efforts to perform an ethnographic exploration of the Polish computer scene; it quotes interviews with participants of demo parties, where text plays a significant role: in demos, real-time texts, IF, mags or digital adaptations. Media archeology focusing on the textual aspect of the demoscene is important to understanding the beginnings of digital literature and genres of digital-born texts.
Piotr Marecki really goes to the “ends of the earth” to investigate this, even reporting on a Polish demoscene production that is a text game and is called The Road to Assland. Here’s the full report.
To continue the trend of three-letter publications presenting reviews of #!, ebr (Electronic Book Review) has just published a review by John Cayley – an expert in electronic literature, an accomplished cybertext poet, a teacher of e-lit practices, and someone who has created digital work engaging with the writings of Samuel Beckett, among other things.
Steven Wingate’s review of my book #! (pronouonced “Shebang,” Counterpath Press, 2014) appears in the current American Book Review and seems to be the first review in print.
I was very pleased to read it. Wingate discusses how the presentation of code provided a hook for understanding what programs do, much as bilingual editions allow a reader to learn more (at least a bit more) about a different language by skipping back and forth between recto and verso. An important goal of mine was to offer more access to computing and to show that code can be concise and open. I aimed to do this even as I wrore rather obscure and difficult programs, such as the ones in Perl, but certainly when writing Ruby and Python, the languages Wingate finds most pleasing.
Even better, Wingate modified “Through the Park” to create his own elliptical text generator with his own language. Modifying the code that’s there is a close reading of it indeed, just as the reader who memorizes a poem knows it better than someone who looks over it or reads it aloud once. I’m very glad that Wingate got into the programs & poems in #! so deeply and that he wrote this review. I’m sure it will help to open up new perspectives on code and poetry.
This Spring, Andrew Plotkin (a.k.a. Zarf) is the Trope Tank’s writer in residence. Andy will be at the Trope Tank weekly to work on one or more of his inestimable projects — as a game-maker, programmer, and platform developer, he has been working furiously for many years. (His home page is modest in this respect; See also his latest game, Hadean Lands.)
Happy New Year! My New Year’s poem for 2015 is a one-line BASIC program for the Commodore 64: “The Era Canto.”
The first review of Megawatt has appeared (originally in German), and it’s quite a detailed analysis of the book, its relationship to Watt, and how the code and output text, in their presentation here, relate. The review is by Hannes Bajohr at 0x0a.
Here is the automagical Googly translation.
There were so many excellent novel generators, and generated novels, last month for NaNaGenMo (National Novel Generation Month).
I thought a lot of them related to and carried on the work of wonderful existing literary projects — usually in the form of existing books. And this is in no way a backhanded complement. My own NaNoGenMo entry was the most rooted in an existing novel; I simply computationally re-implemented Samuel Beckett’s novel Watt (or at least the parts of it that were most illegible and computational), in my novel generator Megawatt (its PDF output is also available). For good measure, Megawatt is completely deterministic; although someone might choose to modify it and generate different things, as it stands it generates exactly one novel. So, for me to say that I was reminded of a great book when I saw a particular generator is pure praise.
Early in month, Liza Daly’s Seraphs set a high standard and must have discouraged many offhand generators! Liza’s generator seeks images and randomizes text to produce a lengthy book that is like the Voynich Manuscript, and certainly also like the Codex Seraphinianus.
Allison Parrish’s I Waded in Clear Water is a novel based on dream interpretations. Of course, it reminds me of 10,000 Dreams Interpreted (and I am pleased, thanks to my students from long ago, to have the leading site on the Web for that famous book) but it also reminds me of footnote-heavy novels such as Infinite Jest. Let me note that a Twine game has already been written based on this work: Fowl are Foul, by Jacqueline Lott.
I found Zarkonnen’s Moebius Tentacle; Or the Space-Octopus oddly compelling. It was created by simple substitution of strings from Moby-Dick (one novel it clearly reminded me of), freeing the story to be about the pursuit of an octopus by space amazons. It wasn’t as polished as I would have liked (just a text file for output), and didn’t render text flawlessly, but still, the result was amazing. Consider how the near-final text presents the (transformed) Tashtego in his final tumult:
A sky-hawk that tauntingly had followed the main-truck downwards from its unnatural home among the stars, pecking at the flag, and incommoding Lazerbot-9 there; this spacebat now chanced to intercept its broad fluttering wing between the hammer and the plasteel; and simultaneously feeling that etherial thrill, the submerged robot beneath, in her death-gasp, kept her hammer frozen there; and so the spacebat of heaven, with archangelic shrieks, and her imperial beak thrust upwards, and her whole captive form folded in the flag of Vixena, went away with her spaceship, which, like Satan, would not sink to transwarp till she had dragged a living part of heaven along with her, and helmeted herself with it.
Sean Barrett wrote two beautiful generators (at least) – the first of which was How Hannah Solved The Twelve-Disk Tower of Hanoi. Deliberate, progressing, intelligent, and keeping the reader on the edge of her seat – this one is great. But, that generator (drafted by November 9) wasn’t enough, and Barrett also contributed (only a day late) The Basketball Game, an opera generator that provides a score (with lyrics) and MIDI files. It’s as if “I got Philip Glass!” indicates that one is rebounding.
Eric Stayton’s I Sing Of takes the beginning of the Aeneid as grist, moving through alternate invocations using WordNet. I like the way different epics are invoked by the slight changes, and was reminded of Calvino’s If on a winter’s night a traveler.
Sam Coppini’s D’ksuban Dictionary, although also just a text file, is a simple but effective generator of a fictional language’s dictionary. Less like the Devil’s Dictionary, more like the (apparently unpublished) lexicon of Earth: Final Conflict. I’m sure literary works in D’ksuban will be forthcoming soon.
Ben Kybartas’s Something, Somewhere is wonderfully spare and evocative – more Madsen than Hemingway.
Finally, Thricedotted’s The Seeker is an extraordinary concrete novel in the tradition of Raymond Federman’s Double or Nothing. The text, based on wikiHow, is good and serves well to define a protagonist who always wishes to do right, but the typographical framework is really excellent.
These are just a few comments before NaNoGenMo goes as stale as a late-December pumpkin. I hope you enjoy tis work and other work that was done last month, and that you keep an eye peeled for further novel generators – next November and throughout the year.
Not literally on stickers, no. This technical report from the Trope Tank is “Stickers as a Literature-Distribution Platform,” and is by Piotr Marecki. It’s just been released as TROPE-14-02 and is very likely to be the last report of 2014. Here’s the abstract:
Contemporary experimental writing often directs its attention to its writing space, its medium, the material on which it is presented. Very often this medium is meaningful and becomes part of the work – the printed text transfered to another media context (for instance, into a traditional book) would become incomprehensible. Literature distributed on stickers is a form of writing that is divided into small fragments of texts (a type of constrained writing), physically scattered in different locations. One of the newest challenges in literature are books with augmented reality, AR, which examine the relation between the physical (the medium) and the virtual interaction. Sticker literature is a rather simple analog form of augmented reality literature. The stickers have QR codes or web addresses printed on them, so the viewer who reads/sees a random sticker in the public space can further explore the text online. The viewer can read other parts of the text on photographs (the photograph being another medium) of other stickers placed in different locations. The author will discuss the use of stickers throughout literary history, beginning with 20th century French Situationists, through different textual strategies applied by visual artists and ending with literary forms such as the sticker novel Implementation (2004) by Nick Montfort and Scott Rettberg or Stoberskiade (2013). The author shall try to explain why writers decide to use this form, how the text is distributed and received and how the city space is used in such projects.
Video of my #! reading, which I did at Google Boston on December 2, is now online.
For the past six months I’ve been working with six collaborators,
- Patsy Baudoin
- Andrew Campana
- Qianxun (Sally) Chen
- Aleksandra Małecka
- Piotr Marecki
- Erik Stayton
To translate e-lit, and for the most part computational literature works such as poetry generators, into English from other languages.
After a great deal of work that extends from searching for other-langauge pieces, through technical and computing development that includes porting, and also extends into the more usual issues assocaited with literary translation, the first phase of the Renderings project (13 works translated from 6 languages) has just been published in Fordham University’s literary journal, Cura.
Please take a look and spread the word. Those of us rooted in English do not have much opportunity to experience the world-wide computational work with langague that is happening. Our project is an attempt to rectify that.
… from the Harvard Book Store.
Two pieces on my book #! have just come out in Galatea Resurrects (A Poetry Engagement), number 23.
Robert Pinsky writes the first installment, noting the recent death of poet Mark Strand.
I didn’t ever properly meet Strand, but I know many of his poems well and I went to one his art openings and saw him there. His work is mostly surrealist and nostalgic, not my usual cup of joe – and yet I found much of it quite appealing and memorable.
Zach Whalen pointed out that it would probably be interesting to compare the reimplementations of A House of Dust that he did early this year and that I did more recently. Whalen’s work to reimplement historical systems is really excellent, by the way, and I in fact showed his animated GIF of “Kick that Habit Man” when I premiered Memory Slam, including a workalike of Gysin and Sommerville’s program and my version of the Knowles and Tenney poem, at NYU ITP’s Code Poetry Slam.
While I’m not going to go deep into code-level analysis of these – that’s a better task for some other code scholar and code warrior – I will make a few high-level points about the two versions, to at least cover some of the obvious differences.
My implementation is much more flat, for better or worse.
My version is also flat also in terms of appearance. While I present the plain monochrome all-caps stanzas scrolling up, Whalen gives a Janus-like look backwards to the pinfeed fanfold paper on which the original poem was published and forwards to the world of social media, via the “Share” button. This is a visual reminder of how the original prinout looked (although it did have four spaces of indentation rather than one!) and an indication of how its output can be part of today’s systems of sharing. I chose to use a proportional font because the monospace font seems too austere and too severe of a historical reminder to me, but I’m glad there is Whalen’s monospace alternative as well. That the lines in Whalen’s version appear a bit at a time is also a nice printerly touch.
It’s an empirical question as to whose version is the most easily modifiable and remixable. One can change the strings around quite easily in both versions to attain new versions of the classic program, after all the files are obtained. I would guess (and hope) that my version might have the edge in providing this sort of flexibility to those exploring the poem through programming, whether new or experienced. If so, that might make it useful in this particular regard and make up for the less historicized appearance and less sharable output.
There was another point to my implementation, which was that it was done more or less uniformly with the other three pieces included in my Memory Slam. So, a new programmer working with any one of those would be more easily able to continue to work with other programs in the set.
That’s something of a start to the discussion of these. I certainly welcome further comments and comparisons.