I’m in Montréal at Experiencing Stories with/in Digital Games Concordia University. I’ll be offering some remarks, entitled “Deinventing the Wheel,” about language and interaction. That will be on the next panel, which focuses on Mass Effect 2.
I won’t elaborate right now, but the current panel, which includes the Tale of Tales folks, made me think about the relationship between Passage, Tao, and The Graveyard.
In his just-released “Argot Ogre, OK!” Andrew Plotkin presents mash-ups and remixes of (almost) all the “Taroko Gorge” remixes to date (and of course the original “Taroko Gorge”), producing such poignant lines as “LAWN DARTS linger” along with single-source remixes and some different stanza shapes. Anyone interested in this thread of poetry generation projects should check it out and should certainly “view source.” Or don’t, if you don’t want to discover more about the secret of the monkey.
This, my friends, calls for a recap of the generators of this general sort to date – eleven of them, so far. Note particularly the two generators mentioned only in comments (“Whisper Wire,” a third remix with visual elements by J. R. Carpenter and the fanlicious “Takei, George” by Mark Sample, which was released after my post) and two other generators released after my post (“Alone Engaged” by Maria Engberg, made at and perhaps redolent of Georgia Tech, and a generator for the the Harry Potter wizarding world of Weasleycest, “Fred & George” by Flourish Klink). In alphabetical order by title, here is a linked list of all of them so far:
COMPUTER world hacked Mitnick
Digital being apprehended and N.C., It wasn’t five years in prison,
vid-like “A video friend)
Ghost in wizardry
Hacker attuned
recounts are one engineering”
cat-and-computer-to willingly provide
the online con his unknowing targets
I keep hearing about this Believer article about palindromes – actually, it’s mostly an article exposing a particular palindromist to readers’ chortles. The article signals no awareness of the palindrome as a literary form, but I appreciate it pointing me to Mr. Duncan’s “A Greenward Palindrome,” written for my local eco-boutique and charming in its topicality.
A community of practice is a set of people who do the same type of work (writing, art, game development, etc.) and who are at least aware of one another and have some interaction with one another. Poets constitute a community of practice, for instance, or at least several significantly interlocking communities of practice. Poets are aware that there are other poets. They read each others’ work. Sometimes they hate one another, which shows that they care.
Electronic literature authors are literary migrants to the computer, not always of the same genre or movement, and are less established as a single community of practice. But thanks to organizations like the Electronic Literature Organization and events like the E-Poetry festival and the ELO conference, many of them do get to meet each other, talk to each other, and learn about each others’ work and interests. Some specific sorts of practice, such as poetry generation, have much less community around them, of course; but others, such as interactive fiction, have a great deal of healthy community.
Palindromists, I would venture, do not constitute a community of practice. They mostly don’t know each other and aren’t aware of each others’ work, despite the efforts of people like Mark Saltveit, editor of the magazine The Palindromist. Duncan describes palindrome authors as “practicing the invisible craft.” When thinking of the short, canoncial palindromes that have circulated without attribution, this designation makes sense. But in other cases, it doesn’t.
For instance, there are plenty of palindrome books in print for those who look. Here are three from a single press, Spineless Books: 2002: A Palindrome Story by Nick Montfort and William Gillespie, I’d Revere Verdi: Palindromes for the Serious Music Lover by Jane Z. Smith and Barbara Thorburn, and the sublime Drawn Inward and Other Poems by Mike J. Maguire, which contains:
Same nice cinemas,
same nice cafe.We talk late.
We face cinemas.
Same nice cinemas.
There are several palindromes of literary interest online, too – my and William’s 2002 is just one, alongside “Dammit I’m Mad” by Demetri Martin and “The Big One” by Will Helston.
From reading that recent article, one would guess that palindromists aren’t a community of practice because palindrome writing isn’t a practice, but a pathology. The truth is that palindromes make for difficult reading, difficult writing, and unique engagements with language that have been savored by Edgar Allan Poe, Vladimir Nabokov, Harry Mathews, and Georges Perec. So, for those who want to take a break from gawking at personal quirks to read some brilliant texts, read a few of the many palindromes that are out there – works of writing that will wow you coming and going.
an event to welcome the Electronic Literature Organization to MIT
and to introduce the ELO to the MIT community
an open house / open mic / open mouse
featuring 5-7 minute presentations and readings
by a host of electronic literature authors (perhaps including you)
[LOCATION] The 6th floor of Fumihiko Maki’s new Media Lab building
in the large multipurpose room (E14-674)
[DATE & TIME] Monday September 19
5:30pm Kickoff, signup for open mic/open mouse begins
6:30pm Open mic/open mouse readings & presentations
an event in the Purple Blurb series
sponsored by Angus N. MacDonald Fund
and the Council for the Arts at MIT
Snacks provided [] Free and open to the public [] Free, open, and AKIMBO
Congrats to Andrew Plotkin (a.k.a. Zarf), interactive fiction author and active member of our local People’s Republic of Interactive Fiction, on the release of his first iPad app: My Secret Hideout. It’s not IF per se, but an interactive narrative toy – or, as Zarf says, “It’s an interactive toy… or rather poem… or artwork… It’s an interactive textual art generator set in a treehouse!” It has no score, possibly because life doesn’t work that way.
Check out Zarf’s page on My Secret Hideout for further details. Or, visit the App Store to nab it.
At MIT TechTV, there’s a new 5-minute video about me and my work, featuring Ad Verbum, Curveship, Taroko Gorge, the ppg256 series and (as examples of really cool things that have been done with computers and that are worth our attention) some productions by others from the demoscene.
Also see the excellent video covering the work of my colleague Fox Harrell and his Imagination, Computation, and Expression Lab. Harrell describes his projects, reads from one of them, and discusses his concept of “phantasmal media.” That term provides the title for a book he’s completing for the MIT Press.
Steve McLaughlin interviewed me using the medium of audio recording and has posted the result, along with a photo of me in my office, at Jacket2. In this interview for “Into the Field,” I read from and discuss my book of poems Riddle & Bind and some other curious work.
Here’s another article about my talk today in Passo Fundo. It’s in Brazilian Portuguese, and has a less maniacal photo accompanying it than did the last article I mentioned. The Babelfish provides this translation into English.
Like my collaborator Noah Wardrip-Fruin, I have come to Brazil for the winter. But not to a nice warm part of Brazil — I’m in Passo Fundo, in the far South, at the 14th Jornada Nacional de Literatura. Here, it has been cold outside, but there has been great excitement about writing and literary art.
I have been correctly identified as a space man as I’ve shown and discussed interactive fiction, poetry generation, and other forms of electronic literature.
I gave a longer talk this morning about these topics, which was translated into Brazilian Portuguese as I spoke. Tomorrow, I will speak on a panel in the main tent to about 5000 people about certain types of “convergence” in writing and literature. The type I will address is a convergence between authors – collaboration.
MIT’s Program in Writing and Humanistic Studies, in the School of Humanities, Arts and Social Sciences, is seeking a tenure-track assistant professor in science writing to start in the Fall of 2012. The Program offers undergraduate courses in science writing and a one-year Master’s degree program in Science Writing. Candidates for the new tenure-track position should have significant publications, productions, or research; and/or advanced degrees combined with demonstrated accomplishment in the public communication of science. The field of specialization may be in science writing for the public, science writing/production in audio, video and or new/digital media, long-form science writing, and/or journalism about science, technology/engineering, environment, health and medicine. Teaching experience is valuable, but not required. Applicants should apply via AcademicJobsOnline, by November 1, 2011. The selection committee will begin reviewing applications in November and schedule interviews in December 2011. MIT is an affirmative action, equal opportunity employer.
With Blue — uncertain — stumbling Buzz —
Between the light — and me —
And then the Windows failed — and then
I could not see to see —
Call for Proposals…
June 20-23, 2012
Morgantown, WV
Conference Planning Committee
– Sandy Baldwin, West Virginia University (Chair)
– Philippe Bootz, University of Paris 8
– Dene Grigar, Washington State University Vancouver
– Margie Luesebrink, Irvine Valley College
– Mark Marino, University of Southern California
– Stuart Moulthrop, University of Wisconsin, Milwaukee
– Joseph Tabbi, University of Illinois, Chicago
We invite titles and proposals of no more than 500 words, including a brief description of the content and format of the presentation, and contact information for the presenter(s). Send proposals to elit2012 [at] gmail.com, using plain text format in the email, or attached as Word or PDF. All proposals will receive peer-to-peer review by the ELO and will be considered on their own terms. Non-traditional and traditional formats will be subject to the same peer-to-peer review process.
Submission deadline for proposals: November 30, 2011
Notification of acceptance: December 30, 2011
The 2012 Electronic Literature Organization Conference will be held June 20-23, 2012 in Morgantown, WV, the site of West Virginia University. In conjunction with the three-day conference, there will be a juried Media Arts Show open to the public at the Monongalia Arts Center in Morgantown and running from June 18-30, 2012. An accompanying online exhibit will bring works from the ELO Conference to a wider audience.
Even if nobody could define print literature, everyone knew where to look for it – in libraries and bookshops, at readings, in class, or on the Masterpiece channel. We have not yet created, however, a consensus about where to find electronic literature, or (for that matter) the location of the literary in an emerging digital aesthetic.
Though we do have, in digital media, works that identify themselves as “locative,” we don’t really know where to look for e-lit, how it should be tagged and distributed, and whether or how it should be taught. Is born digital writing likely to reside, for example, in conventional literature programs? in Rhetoric? Comp? Creative Writing? Can new media literature be remediated? How should its conditions of creation be described? Do those descriptions become our primary texts when the works themselves become unavailable through technological obsolescence?
To forward our thinking about the institutional and technological location of current literary writing, The Electronic Literature Organization and West Virginia University’s Center for Literary Computing invite submissions to the ELO 2012 Conference to be held from June 20-23, 2012, in Morgantown, West Virginia.
Bearing in mind the changing locations of new media literature and literary cultures, the conference organizers welcome unconventional presentations, whether in print or digital media. The point is not to reject the conventional conference ‘paper’ or bullet point presentation but to encourage thoughtful exploration and justification of any format employed. All elements of literary description and presentation are up for reconsideration. The modest mechanisms of course descriptions, syllabus construction, genre identification, and the composition of author bios, could well offer maps toward the location of the literary in digital media. So can an annotated bibliography of works falling under a given genre or within a certain technological context. We welcome surveys of the use of tags and keywords, and how these can be recognized (or not) by readers, libraries, or other necessary nodes in an emerging literary network Also of interest is the current proliferation of directories of electronic literature in multiple media, languages, and geographical locations.
The cost of the conference is $150; graduate students and non-affiliated artists pay only $100. The cost covers receptions, meals, and other conference events. All participants must be members of the Electronic Literature Organization. All events are within walking distance of the conference hotels. Morgantown is a classic college town, located in the scenic hills of north central West Virginia, about 70 miles south of Pittsburgh, PA. Local hotel and travel information will be available on the conference website starting October 1, 2011.
Check http://el.eliterature.org and http://conference.eliterature.org for updates. For more information, email elit2012 [at] gmail.com.
*Note: this title derives from an essay by ELO Board Member Dene Grigar in electronic book review, where selected conference presentations will be published within a few months of the conference.
The Electronic Literature Organization is moving its headquarters to MIT this summer. The organization is an international nonprofit with many partner institutions, but the main office is a particularly important site for the ELO – hence, I want to thank the ELO’s former hosts MITH (at the University of Maryland) and UCLA, which have generously sustained the organization for most of its existence since its founding in 1999. As the current president, I’m very glad that MIT will be the ELO’s host. I’ll be working with others to form a lasting relationship. As we continue to serve our international membership and pursue our mission, we’re going to have many fun events and collaborations based at MIT.
Here’s today’s press release, from MIT, about the ELO’s move.
Christian Bök is nearing completion of his 9-year Xenotext project.
Craig Dworkin edited Against Expression: An Anthology of Conceptual Writing with Kenneth Goldsmith; it came out early this year.
Kenneth Goldsmith has a new interview up at the Academy of American Poets site.
Vanessa Place has now published two books of her trilogy Tragodía: Statement of Facts and Statement of the Case.
In January 2009, I wrote a very short (one page) Python poetry generator that creates a limitless nature poem each time it is run. I wrote this generator, “Taroko Gorge,” mostly at Taroko Gorge National Park in Taiwan, finishing it on the plane afterwards. I later ported it to JavaScript so that it could be easily run in a Web browser.
It seems the gorge goes ever ever on. The code from “Taroko Gorge” and the form it defines have been appropriated a few times. Here are five poetry generators that use the code from that project and replace my text with different, and often much more extensive, language:
“Tokyo Garage” by Scott Rettberg, 2009. [Output from “Tokyo Garage” read aloud by a pedantic machinima clown.]
“Gorge” by J. R. Carpenter, 2010. [Announcement of “Gorge.”] [Output appears in J. R. Carpenter’s GENERATION[S], Traumawien: 2010.]
“Along the Briny Beach” by J. R. Carpenter, 2011. [Announcement of “Along the Briny Beach.”]
“Toy Garbage” by Talan Memmott, 2011.
“Yoko Engorged” by Eric Snodgrass. 2011. [Announcement of “Yoko Engorged.”]
I’ve made some hopefully superficial changes to the non-blog part of my website, nickm.com. Please let me know if you notice that I broke anything.
