Alan Cox has just released Fuzix, a Unix-like OS for the Z80. The kernel runs in 40kb. Designed for portability, it’s been compiled on the 6502 and 6509, but further work will be needed to fully support those processors.
Nick Montfort presents #! in the atrium of MIT’s building E15, just steps from the Kendall T stop. It’s October 22, Wednesday, at 6:30pm, and thanks to the List Visual Arts Center. The book is Montfort’s new one from Counterpath Press, consisting of programs and poems. Please, come join me!
Michael Mateas looks even more smug than normal – and he should – in the photo accompanying this UC Santa Cruz press release. He’s the chair of the new Computational Media department at that UC school, the first of its sort.
My collaborator & friend Michael, along with my collaborator & friend Noah Wardrip-Fruin, have made good on the suggestions of the report “Envisioning the Future of Computational Media,” the outcome of an NEH-, NEA-, NSF-, and Microsoft-sponsored workshop of which I was a part, along with about 40 others.
I’m glad, too, that Michael expressed how, while games are a critical part of computational media, the field’s potential goes beyond the current state of computer and video gaming.
It looks like computational media has a great future in Santa Cruz!
World Clock (book, code) has now been published in Polish. The translation is by Piotr Marecki, who translated the underlying novel-generating program and generated a new novel in Polish. ha!art is the publisher, and the book appears in the Liberatura series, which also includes some very distinguished titles: The Polish translations of Finnegans Wake and of Perec’s Life A User’s Manual, for instance.
Yes, the first event is today, the date of this post…
September 12, Friday, 6pm-8pm
Boston Cyberarts Gallery, 141 Green Street, Jamaica Plain, MA
“Collision21: More Human” exhibit opens – it’s up through October 26.
“From the Tables of My Memorie” by Montfort, an interactive video installation, is included.
September 18, Thursday, 7pm-8pm
Harvard Book Store, 1256 Massachusetts Ave, Cambridge, MA
Montfort reads from #!, World Clock, and the new paperback 10 PRINT
September 24, Wednesday, 7:30pm
Boston Cyberarts Gallery, 141 Green Street, Jamaica Plain, MA
Montfort joins a panel of artists in “Collision21: More Human” for this Art Technology New England discussion.
October 22, Wednesday, 6:30pm-7:30pm
The Atrium of MIT’s Building E15 (“Old Media Lab”/Wiesner Building)
Montfort reads from #! at the List Visual Arts Center
November 15, Saturday, 9am-3pm
MIT (specific location TBA)
Urban Poetry Lateral Studio, a master class by Montfort for MIT’s SA+P
December 4, Thursday, 5pm-7pm
“Making Computing Strange,” a forum with:
Lev Manovich (Software Takes Command, The Language of New Media)
Fox Harrell (Phantasmal Media)
moderated by Nick Montfort
The forum will examine the ways in which computational models can be used in cultural contexts for everything from analyzing media to imagining new ways to represent ourselves.
The disciple went to Minsky.
The disciple told him of his project, to develop a story generator with different components, a collaborative system that collaborated.
Minsky asked if a specific author was to be imitated.
No, the disciple said, the project seeks to do what only computers can do, to use computational power in new ways. And yet, the disciple admitted, the system models human creativity, techniques and processes that people use. Hesitantly, the disciple said, “it does seem contradictory…”
“You can do both,” said Minsky.
At that moment, the disciple was enlightened.
So, I’m not saying they’re a bad idea, but why do these things get called “driverless” or “self-driving”? They are being driven by an immense corporation with the most massive store of data on Earth. They can’t function without this corporation or this store of data. They can’t drive themselves.
I dunno, maybe we should at least notice this sort of — hey! These cars are programmed to go up to 10 mph above the speed limit! Shiny!
Yesterday first-person-shooter Borges, intimate, infinite, and based on prose; today cut-up Spenser, mutable and poetic.
This dynamic digital poetry piece, by Stephen Pentecost, is quite compelling. The author writes:
The Mutable Stanzas is a digital poetry installation and deformance experiment inspired by Raymond Queneau’s Cent Mille Milliards de Poèmes, by the work by Jerome McGann et al on “Deformance and Interpretation,” and by the work of my collegues in the Humanities Digital Workshop.
The Mutable Stanzas disassembles Edmund Spenser’s The Faerie Queene into its constituent lines, groups lines according to terminal rhyme, then randomly reassembles lines into new stanzas.
While the stanzas are structured by end rhyme, and each line is not independent of others, I wonder, as a reader, whether it’s best to avail myself of the pause button or whether I should simply continue reading down the page.
A special issue of IEEE Transactions on Computational Intelligence and AI in Games (TCIAIG) is now out — I mention it because I was one of the editors, and the issue deals with computational narrative and games.
Here’s the link to the computational narrative and games issue. It was edited by Ian Horswill, Nick Montfort and Michael Young. And here’s what is in it:
Horswill, I.D; Montfort, N; Young, R.M
Social Story Worlds With Comme il Faut
McCoy, J. ; Treanor, M. ; Samuel, B. ; Reed, A.A. ; Mateas, M. ; Wardrip-Fruin, N.
Versu—A Simulationist Storytelling System
Evans, R. ; Short, E.
A Computational Model of Narrative Generation for Surprise Arousal
Bae, B.-C. ; Young, R.M.
Automated Story Selection for Color Commentary in Sports
Lee, G. ; Bulitko, V. ; Ludvig, E.A.
Skald: Minstrel Reconstructed
Tearse, B. ; Mawhorter, P. ; Mateas, M. ; Wardrip-Fruin, N.
Designing User-Character Dialog in Interactive Narratives: An Exploratory Experiment
Endrass, B. ; Klimmt, C. ; Mehlmann, G. ; Andre, E. ; Roth, C.
Personalized Interactive Narratives via Sequential Recommendation of Plot Points
Yu, H. ; Riedl, M.O.
Lessons on Using Computationally Generated Influence for Shaping Narrative Experiences
Roberts, D.L. ; Isbell, C.L.
A Supervised Learning Framework for Modeling Director Agent Strategies in Educational Interactive Narrative
Lee, S.Y. ; Rowe, J.P. ; Mott, B.W. ; Lester, J.C.
Shall I Compare Thee to Another Story?—An Empirical Study of Analogy-Based Story Generation
Zhu, J. ; Ontanon, S.
Analysis of ReGEN as a Graph-Rewriting System for Quest Generation
Kybartas, B. ; Verbrugge, C.
p 228 – 241
(These pertain to Intelligent Narrative Technologies 7, and specifically today’s presentations. Perhaps, if you’re here, you will laugh. If you aren’t here, my regrets.)
Mickey Rooney is no longer with us, but the mainframe computer is. The Register writes up the 50th anniversary of IBM’s System 360, finishing by describing the current zEnterprise line of IBM mainframes. The line was updated just last year.
If this anniversary encourages you to hit the books about the System 360, I suggest IBM’s 360 and Early 370 Systems by Emerson W. Pugh, Lyle R. Johnson and John H. Palmer.
Check out my colleague Fox Harrell’s article “Digital Soul: The Computer, Imagination and Social Change, just posted at The Root. It’s a very nice, concise statement of Harrell’s vision of the computer as an imaginative force.
The final report of the Media Systems workshop has just been released:
You can download either the executive summary alone or the whole report.
I took part in the Media Systems workshop in 2012 with about 40 others from across the country. The workshop was sponsored by the National Science Foundation, National Endowment for the Humanities, National Endowment for the Arts, Microsoft Studios, and Microsoft Research. As Noah Wardrip-Fruin, co-author and co-organizer of the workshop, writes on the HASTAC site:
Our report, “Envisioning the Future of Computational Media,” starts with the fact that the future of media is increasingly computational — video games, smartphone apps, ebooks, social media, and more.
As media evolve and change, the stakes are high, on many fronts — from culture and the economy to education and health.
To create media capable of continuing the expansion of computational media’s impact, we need to combine technical research that develops media possibilities with innovations in the creation and interpretation of media projects and forms.
Instead, today, we generally separate these activities. Technology research organizations generally don’t have disciplinary, funding, or organizational support for making or interpreting media. Media making and interpretation organizations generally lack support for long-term technology research.
Our report is focused on recommendations for how to fix this.
Although I see the success of people who have integrated technical and humanistic viewpoints all the time – in my colleagues and collaborators, to be sure, but also in MIT students who bring together technical depth and with humanistic inquiry and artistic creation – I realize that there is still a gap between computation and media. I hope this report, which offers a dozen recommendations to address this disconnect, will be helpful as we try to improve our own skills and those of our students.
My novel World Clock, generated by 165 lines of Python code that I wrote in a few hours on November 27, 2013, is now available in print.
World Clock tells of 1440 incidents that take place around the world at each minute of a day. The novel was inspired by Stanislaw Lem’s “One Human Minute” and Harry Mathews’s “The Chronogram for 1998.” It celebrates the industrial concept of time and certain types of vigorous banality which are shared by all people throughout the world.
The code has been online, along with a PDF of the book’s text, since late November. The Python program that generated this novel is available under a free software license. Anyone may make whatever use of it; generate your own novel with the unchanged code, if you like, or modify it to produce something different, for instance.
The book World Clock is for sale to local and remote customers from my local independent bookstore, the Harvard Book Store. (No direct relationship to the university of the same name; they both happen to be located in Harvard Square.) The book is printed on the Espresso Book Machine in the store – to the amazement of onlookers. The apparatus has been dubbed “Paige M. Gutenborg.”
The 239-page paperback can be purchased for only $14.40, which is the low, low price of only one cent per minute.
To continue the productive discussion of uninscribed artworks in Craig Dworkin’s No Medium, this report discusses, in detail, those computer programs that have no code, and are thus empty or null. Several specific examples that have been offered in different contexts (the demoscene, obfuscated coding, a programming challenge, etc.) are analyzed. The concept of a null program is discussed with reference to null strings and files. This limit case of computing shows that both technical and cultural means of analysis are important to a complete understanding of programs – even in the unusual case that they lack code.
Please share and enjoy. And do feel free to leave a comment here if anything to add on this topic, or if you have a question about this report. I’d be glad to continue the discussion of these unusual programs.
Noah Wardrip-Fruin was an organizer the Media Systems workshop at UCSC just over a year ago, August 26-29, 2012. It was an extraordinary gathering about computational media and its potential, with famous participants from a variety of disciplines and practices. The workshop’s sponsors were also remarkable: the National Science Foundation, National Endowment for the Humanities, National Endowment for the Arts, Microsoft Research, and Microsoft Studios. Now, Noah is working to put high-quality videos of talks from this event online, and to offer some very useful framing discussion of those talks.
This month, three have been posted. The first of these is a talk by Ian Horswill: “Interdisciplinarity is Hard.” I’m collaborating with Ian now to edit a special issue on computational narrative and am looking forward to seeing him at AIIDE. In addition to his talk, I recommend (and assign) his short but rich article “What is Computation?,” which discusses some of the fundamentals of computation as a science along with its intellectual and cultural importance. Those with access to ACM content can also get the later version of the article that was published in Crossroads.
The second talk posted is from the inestimable production designer Alex McDowell: “World Building.” McDowell (The Crow, Fear and Loathing in Las Vegas, Fight Club, Minority Report, Watchmen, etc., etc. ) describes how the development of movies is no longer a storytelling process driven by a single person or idea, but is becoming a process of world building in which a variety of concepts, including design and in some cases engagement with urban planning and spaces, influence each other. McDowell made his points with some of the most beautiful and byzantine diagrammatic slides since David Byrne was doing work in PowerPoint.
The most recent talk is mine – Nick Montfort: “The Art of Operationalization.” I spoke about my experience implementing humanistic ideas (in my case, about narrative) in computational systems, ones that not only can produce narrative results, but which can advance our understanding of the humanities and arts. Prof. Janet Kolodner (now serving the National Science Foundation) seemed to be uncertain about the value of this work, and questioned me about that during my talk – in a way that surprised me a bit! But looking back, I see that our discussion was one of the benefits of having a diverse yet fairly small in-person gathering. I seldom have these discussions either on this blog or in larger, multi-track conferences.
I think of Curveship and even the development of small-scale programs such as Through the Park as research activities (in the humanities, but potentially also in computation) that as connected to narrative and poetic practice. While some people (such as Ken Perlin, who was also at workshop and whose video will be up next week) work in this sort of mode and see the value in it, the benefits are not obvious. The result may not a direct educational outcome, an incremental advance that can be directly measured and evaluated, or a work of art or literature that is recognizable in a traditional way. So, whether I was able to answer well at the time or not, I appreciate the questions, and hope to get more of those sort in other workshops such as these.