Happy New Year 2017

Sunday 1 January 2017, 6:03 pm   ////  

My New Year’s poem for 2017 is Colors, a 1KB Web page, online at http://nickm.com/poems/colors.html and here it is, too:

<!DOCTYPE html>
<html style="overflow:hidden">
<head><meta charset=utf-8>
<!-- Copyright (c) 2016 Nick Montfort <nickm@nickm.com>   2016-12-31, 1KB

Copying and distribution of this file, with or without modification,
are permitted in any medium without royalty provided the copyright
notice and this notice are preserved. This file is offered as-is,
without any warranty.

Click pauses, Add ?00f000 or similar to URL for the specified color.-->
<script type=text/javascript>
var c = 0, i;
function up() {
 if (c > 16581375) { c = 0; }
 document.body.style.background = "#"+("00000"+c.toString(16)).slice(-6);
 c += 1;
function pause(e) {
 if (i) { clearInterval(i); i = 0; } else { go(); }
function init() {
 var s = window.location.search;
 if (s.slice(0, 1) === '?') { c = parseInt(unescape(s.slice(1)), 16); }
function go() { i = window.setInterval(up, 5); };
<body onload=init() onmousedown=pause(event)>
<div style="width:100vw; height:100vh"></div>

As the code says, you can add an argument in the URL to start with a particular color, such as medium gray:


Click to stop on a particular color that you especially like. Click again to continue moving through the colors. If you let it run, you’ll see all 16581375 colors in just over 23 hours.

Happy new year.

Digital Lengua, the launch of 2×6 and Autopia, Nov 20 in NYC

Thursday 27 October 2016, 10:34 pm   ////////  
Clouds of Digital Lengua palabras

Digital Lengua – Babycastles, 137 West 14th St, Manhattan – 5:30pm Sunday November 20

This reading of computer-generated literature in English and Spanish serves as the global book launch for two titles:

Nick Montfort, Serge Bouchardon, Andrew Campana, Natalia Fedorova, Carlos León, Aleksandra Ma?ecka, Piotr Marecki
Les Figues, Los Angeles: Global Poetics Series
256 pp.

Nick Montfort
Troll Thread, New York
256 pp.

Montfort will read from these two books, reading English and Spanish texts from 2×6. Paperback copies will be available for purchase. The short programs that generated these books are printed in the books and also available as free software online.

Läufer will read from his projects Bigrammatology and WriterTools™, in both cases, in Spanish and English.

Montfort and Läufer will read from work done as part of the Renderings project and as part of another project, Heftings.

The Renderings project, organized by Montfort and based at his lab, The Trope Tank, involves locating computational literature (such as poetry generating computer programs) from around the globe and translating these works into English. Läufer and Montfort will read from two Spanish-language poetry generators, from Argentina and Spain, and from translations of them.

The Heftings project, also organized by Montfort through The Trope Tank, involves making attempts, often many, at translating conceptual, constrained, concrete & visual, and other types of literary art that are generally considered to be impossible to translate. Montfort and Läufer will read from some short works that are originally in Spanish or English and works that have Spanish or English translations.

Nick Montfort develops computational art and poetry, often collaboratively. His poetry books are #!, Riddle & Bind, and Autopia; he co-wrote 2002: A Palindrome Story and 2×6. His more than fifty digital projects, at http://nickm.com, include the collaborations The Deletionist, Sea and Spar Between, and the Renderings project. His collaborative and individual books from the MIT Press are: The New Media Reader, Twisty Little Passages, Racing the Beam, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, and most recently Exploratory Programming for the Arts and Humanities. He lives in New York and Boston, offers naming services as Nomnym, and is a professor at MIT.

Milton Läufer is an Argentinian writer, journalist and teacher. Currently he is doing a PhD at New York University focused on digital literature in Latin America. He is the 2016-2017 writer-in-residence of The Trope Tank, MIT. In 2015 he published Lagunas, a partially algorithmic-generated novel, which —as most of his work— is available online at http://www.miltonlaufer.com.ar. He has participated in art exhibitions in Latin America, the US and Europe. He lives in Brooklyn.

Digital Lengua – Babycastles, 137 West 14th St, Manhattan – 5:30pm Domingo, Noviembre 20

Esta lectura de literatura generada por computadora en español e inglés oficiará, a la vez, de lanzamiento para los siguientes dos títulos:

Nick Montfort, Serge Bouchardon, Andrew Campana, Natalia Fedorova, Carlos León, Aleksandra Ma?ecka, Piotr Marecki
Les Figues, Los Angeles: Global Poetics Series
256 págs.

Nick Montfort
Troll Thread, New York
256 págs.

Montfort leerá de ambos libros, en español e inglés para el caso de 2×6. Habrá copias impresas disponibles para su compra. Los breves programas que generan el código se encuentran en dichos libros y también en línea como software libre (y gratuito).

Läufer leerá de sus proyectos Bigrammatology y WriterTools™, en español e inglés en ambos casos.

Los autores leerán también de los trabajos realizados en el marco de los proyecto Renderings y Heftings.

El proyecto Renderings, organizado por Montfort con base en su laboratorio, The Trope Tank, involucra la búsqueda de literatura computacional (tal como poesía generada por programas de computadora) a lo largo del globo y la traducción de estos proyectos al inglés. Läufer y Montfort leerán de dos generadores de poesía en español, uno de Argentina y otro de España, así como sus traducciones.

El proyecto Heftings, también organizado por Montfort a través de The Trope Tank, consiste en la producción de intentos, a menudo muchos, de traducir obras literarias conceptuales, formalistas, concretas o visuales tales que son generalmente consideradas imposibles de traducir. Montfort y Läufer leerán algunos trabajos breves originalmente en español o inglés y trabajos que poseen traducciones españolas o inglesas.

Nick Montfort desarrolla arte y poesía computacional, frecuentemente en colaboración. Entre sus libros se destacan #!, Riddle & Bind y Autopia; y, en colaboración, 2002: A Palindrome Story y 2×6. Entre sus más de cincuenta proyectos digitales, en http://nickm.com, se encuentran las colaboraciones The Deletionist, Sea and Spar Between y Renderings, un proyecto centrado en la traducción. Sus libros de MIT Press son The New Media Reader, Twisty Little Passages, Racing the Beam, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 y, recientemente, Exploratory Programming for the Arts and Humanities. Vive en New York y Boston, ofrece servicios de nombres como Nomnym, y es un profesor en MIT.

Milton Läufer es un escritor, periodista y docente argentino. Actualmente se encuentra realizando un PhD en la New York University acerca de literatura digital in América Latina. Es el escritor en residencia de The Trope Tank para el período 2016-2017, en MIT. En 2015 publicó la novela generada parcialmente por algoritmos Lagunas, la cual —como el resto de su obra el literatura digital— es accesible desde su sitio, http://www.miltonlaufer.com.ar. Ha participado de exposiciones en América Latina, Estados Unidos y Europa. Vive en Brooklyn.


Trope Tank Writer in Residence

Wednesday 3 August 2016, 5:29 pm   //////  

The Trope Tank is accepting applications for a writer in residence during academic year 2016-2017.

The Trope Tank, 3 August 2016

Our mission is developing new poetic practices and new understandings of digital media by focusing on the material, formal, and historical aspects of computation and language. More can be discovered about the Trope Tank here:


The main projects of the Trope Tank for 2016-2017 are Renderings and Heftings, as I’ve described for a forthcoming article in Convolutions 4:

The Renderings project is an effort to locate computational literature in languages other than English — poetry and other text generators, combinatorial poems, interactive fiction, and interactive visual poetry, for example — and translate this work to English. Along the way, it is necessary to port some of this work to the Web, or emulate it, or re-implement it, both in the source language and in English. This provides the original language community better access to a functioning version of the original work, some of which originates in computer magazines from several decades ago, some of which is from even earlier. The translations give the English-language community some perspective on the global creative work that has been undertaken with language and computation, helping to remedy the typical view of this area, which is almost always strongly English-centered.

Heftings, on the other hand, is not about translation into English; the project is able to include translation between any pair of languages (along with the translation of work that is originally multilingual). Nor does it focus on digital and computational work. Instead, Heftings is about “impossible translation” of all sorts — for instance, of minimal, highly constrained, densely allusive, and concrete/visual poems. The idea is that even if the translation of such works is impossible, attempts at translation, made while working collaboratively and in conversation with others, can lead to insights. The Heftings project seeks to encourage translation attempts, many such attempts per source text, and to facilitate discussion of these. There is no concept that one of these attempts will be determined to be the best and will be settled upon as the right answer to the question of translation.

The Trope Tank’s work goes beyond these main projects. It includes developing creative projects, individually and collaboratively; teaching about computing, videogaming, and the material history of the text in formal and informal ways; and research into related areas. Those in the Trope Tank have also curated and produced exhibits and brought some of the lab’s resources to the public at other venues. The lab hosts monthly meetings of the People’s Republic of Interactive Fiction and occasional workshops.

There are no fees or costs associated with the residency; there is also no stipend or other financial support provided as part of the appointment. A writer in residence has 24-hour access to and use of the Trope Tank, including space to work, power and network connection, and use of materials and equipment. As a member of the MIT community, a writer in residence can access the campus and check out books from the MIT Libraries. We encourage our writer in residence to attend research and creative discussions and join us in project work and other collaborations, but this is not expressed with a particular requirement to be in the Trope Tank some amount of time per week.

To apply, email me, Nick Montfort, at moc.mkcin@mkcin with short answers (in no case to exceed 250 words each) to the following questions:

  • What work have you done that relates to computation, language and literature, and the mission of the lab? Include URLs when appropriate; there is no need to include the URLs when counting words.

  • How would you make use of your time in the Trope Tank? You do not have to offer a detailed outline of a particular project, but explain in some way how it would be useful to you to have access to the materials, equipment, and people here.

  • What is your relationship, if any, to literary translation, and do you see yourself contributing to Renderings, Heftings, or both? If so, how?

  • What connections could you potentially make between communities of practice and other groups you know, either in the Boston area or beyond, and the existing Trope Tank community within MIT?

Include a CV/resume in PDF format as an attachment.

Applications will be considered beginning on August 15; applicants are encouraged to apply by noon on that day.

We value diverse backgrounds, experiences, and thinking, and encourage applications by members of groups that are underrepresented at MIT.

Hello, Globe

Monday 25 April 2016, 4:45 pm   ////  

On Saturday, the 400th anniversary of Shakespeare’s death (and, happy birthday, too, Will), I delivered to Twitter, via post-haste dispatch, the following four Commodore 64 BASIC programs, versions of the famous “Hello world” program:

400 ? chr$(147)"hello world":for a=1 to 500:next:? chr$(19)"brave":new:rem #c64

400 ? chr$(144)chr$(79)chr$(84)"hello world":rem #c64

400 ? "hello world"chr$(4^3+(2b or not 2b)):rem #c64

400 for a=0to255:? chr$(147)spc(a)"(QRQ) hello world":next:? chr$(147):rem #c64

Type ’em in to a for-real Commodore 64 or to this Web-based emulator here. No special characters are involved, so entering these programs should be easy; lowercase letters will appear capitalized and the few capital ones will appear as graphical symbols.

Let me know what you think … and if you see the relationship to four of Shakespeare’s plays.

Great Workshop for New Programmers at Babycastles

Monday 25 April 2016, 1:41 pm   ///////  

I had a launch event Saturday afternoon for my new book, Exploratory Programming for the Arts and Humanities. Not a typical reading or book party, but a workshop for people completely new to programming but interested in pursuing it. It was at the excellent gallery and venue, Babycastles, on West 14th Street in Manhattan.

I don’t actually have the list of attendees – I’d like to sent everyone a note, but it will have to wait! – but two people I knew beforehand participated and ten others joined in, with some people from Babycastles also participating and helping out. (Special thanks to Lauren Gardner for hosting!) I was very glad that the group was diverse in terms of gender, race, background, interests … also, pleased that this time around we had more people who were genuinely new to programming. I’ve done similar workshops before, prior to the publication of Exploratory Programming, and often there are folks who have had some programming classes and done some programming projects before. I’m glad to help such people as they re-start work with code, but I tried to make sure this time that there was no crypto-prerequisite suggested; the session really was for those wanting to program but lacking background.

Of course we dealt with programming as culturally situated and meaningful within art, poetry, writing, and inquiry. We used the historical Memory Slam examples that I prepared a few years ago for another event in Lower Manhattan.

Because the book is out and registration for the workshop included a copy of it, I didn’t feel the need to go through particular code examples that are in there. I was able to frame the whole idea of programming and focus on a few early specifics in both JavaScript and Python – showing that code is just editing a text file; that there’s a difference between code and data (and parameters, too); and that error messages can be helpful rather than frustrating. We did work with specific code, but didn’t cover specific code discussions in the book or the exercises in there. The book is for use in a classroom, but also for individual learners, to allow people to continue their work as programmers formally and informally.

Many people introducing a new book will have book parties, with or without readings, that draw a much larger crowd that this event did. But, as Brian Eno said about the Velvet Underground’s first album, not many people bought it but all the people who did started a band. I hope everyone who participated in this modest event at Babycastles goes on to start a band, by developing a programming practice engaged with the arts and humanities.

Update: I should have mentioned – we’ll have a similar workshop on May 15 at the School for Poetic Computation!

Language Hacking at SXSW Interactive

We had a great panel at SXSW Interactive on March 11, exploring several radical ways in which langauge and computing are intersecting. It was “Hacking Language: Bots, IF and Esolangs.” I moderated; the main speakers were Allison Parrish a.k.a. @aparrish; Daniel Temkin DBA @rottytooth; and Emily Short, alias @emshort.

I kicked things off by showing some simple combinatorial text generators, including the modifiable “Stochastic Texts” from my Memory Slam reimplementation and my super-simple startup name generator, Upstart. No slides from me, just links and a bit of quick modification to show how easily one can work with literary langauge and a Web generator.

Allison Parrish, top bot maker, spoke about how the most interesting Twitter bots, rather than beign spammy and harmful or full of delightful utility, are enacing a critique of the banal corporate system that Twitter has carefully been shaped into by its makers (and compliant users). Allison showed her and other’s work; The theoretical basis for her discussion was Iain Borden’s “Another Pavement, Another Beach: Skateboarding and the Performative Critique of Architecture.” Read over Allison’s slides (with notes) to see the argument as she makes it:

Twitter Bots and the Performative Critique of Procedural Writing

Daniel Temkin introduced the group to esoteric programming languages, including several that he created and a few classics. He brought copies of a chapbook for people in the audience, too. We got a view of this programming-language creation activity generally – why people devise these projects, what they tell us about computing, and what they tell us about language – and learned some about Temkin’s own practice as an esolang developer. Take a look at Daniel’s slides and notes for the devious details:

Esolangs: A Guide to "Useless" Programming Languages

Finally, interactive fiction author Emily Short reviewed some of the classic problems of interactive fiction and how consideration has moved from the level of naïve physics to models of the social worlds – again, with reference to her own IF development and that of others. One example she presented early on was the challenge of responding to the IF command “look at my feet.” Although my first interactive fiction, Winchester’s Nightmare (1999) was not very remarkable generally, I’m pleased to note that it does at least offer a reasonable reply to this command:

Winchester's Nightmare excerpt

That was done by creating numerous objects of class “BodyPart” (or some similar name) which just generate error messages. Not sure if it was a tremendous breakthrough. But I think there is something to the idea of gently encouraging the interactor to o play within particular boundaries.

Emily’s slides (offering many other insights) may be posted in a bit – she is still traveling. I’ll link them here, if so.

Update! Emily’s slides are now online — please take a look.

I had a trio of questions for each pair of presenters, and we had time for questions from the audience, too. The three main presenters each had really great, compact presentations that gave a critical survey of these insurgent areas, and we managed to see a bit of how they speak to each other, too. This session, and getting to talk with these three during and outside of it, certainly made SXSW Interactive worth the trip for me.

There’s an audio recording of the event that’s available, too.

A New, Untitled Poem

Friday 4 December 2015, 5:34 pm   //  

I hope you enjoy this one, and don’t dismiss it as lighght verse.

A New Poem: “Forgetfulness, by Billy Collins”

Wednesday 23 September 2015, 9:34 pm   //  

Gur anzr bs gur nhgube vf gur svefg gb tb
sbyybjrq borqvragyl ol gur gvgyr, gur cybg,
gur urnegoernxvat pbapyhfvba, gur ragver abiry
juvpu fhqqrayl orpbzrf bar lbh unir arire ernq,
arire rira urneq bs,

nf vs, bar ol bar, gur zrzbevrf lbh hfrq gb uneobe
qrpvqrq gb ergver gb gur fbhgurea urzvfcurer bs gur oenva,
gb n yvggyr svfuvat ivyyntr jurer gurer ner ab cubarf.

Ybat ntb lbh xvffrq gur anzrf bs gur avar Zhfrf tbbqolr
naq jngpurq gur dhnqengvp rdhngvba cnpx vgf ont,
naq rira abj nf lbh zrzbevmr gur beqre bs gur cynargf,

fbzrguvat ryfr vf fyvccvat njnl, n fgngr sybjre creuncf,
gur nqqerff bs na hapyr, gur pncvgny bs Cnenthnl.

Jungrire vg vf lbh ner fgehttyvat gb erzrzore,
vg vf abg cbvfrq ba gur gvc bs lbhe gbathr,
abg rira yhexvat va fbzr bofpher pbeare bs lbhe fcyrra.

Vg unf sybngrq njnl qbja n qnex zlgubybtvpny evire
jubfr anzr ortvaf jvgu na Y nf sne nf lbh pna erpnyy,
jryy ba lbhe bja jnl gb boyvivba jurer lbh jvyy wbva gubfr
jub unir rira sbetbggra ubj gb fjvz naq ubj gb evqr n ovplpyr.

Ab jbaqre lbh evfr va gur zvqqyr bs gur avtug
gb ybbx hc gur qngr bs n snzbhf onggyr va n obbx ba jne.
Ab jbaqre gur zbba va gur jvaqbj frrzf gb unir qevsgrq
bhg bs n ybir cbrz gung lbh hfrq gb xabj ol urneg.

Paging Babel

Wednesday 26 August 2015, 2:20 am   ////////  

About 12 hours ago I was reading “The New Art of Making Books” by Ulises Carrión, a text I’d read before but which I hadn’t fully considered and engaged with. As I thought about Carrión’s writing, I felt compelled to put together a short piece on the Web. That took the form of a Web page containing a rapidly-moving concrete poem. The work I devised is called “Una página de Babel.”

Screen capture of Babel

Many will surely note that it is based on Jorge Luis Borges’s “Una biblioteca de Babel” (The Library of Babel). And, I hope people are aware of some the other interesting digital projects based on this story. I have seen one from years ago on CD-ROM; one that is very nice, and available on the Web, is Jeremiah Johnson’s BABEL. There’s also the exquisite Library of Babel by Jonathan Basile.

My piece does not try to closely and literally implement the library that Borges described, although it does have a page that is formally like the ones in Borges’s library: 80 characters wide, 40 lines long. Given this austere rectangular regularity, I assumed a typewriter-like monospace font.

The devotion of “Una página” to what the text describes stops there; instead of using the 23-letter alphabet that Borges sketches to populate this 80×40 grid, I use the unigram probabilities of letters in the story itself, in the Spanish text of “La biblioteca de Babel.” So, for instance, the lowercase letter a occurs a bit less than 8.4% of the time, and this is the probability with which it is produced on the page. The same holds for spaces, for the letter ñ, and for all other glyphs; they appear on the page at random, with the same probability that they do in Borges’s story. Because each letter is picked independently at random, the result does not bear much relationship to Spanish or any other human language, in which the occurrence of a glyph usually has something to do with the glyph before it (and before that, and so on).

“Una página” is also non-interactive. One can zoom, screenshot, copy and paste, and so on, but the program itself does not accept user input.

I sketched the program in Python before developing it in JavaScript, and when I was done with the HTML page that includes the JavaScript program, I thought I’d make a Python version, too. But when I did, I was disappointed; the Python program isn’t a page, and doesn’t produce a page, and so doesn’t seem to me to fit the concept, which has to be that of a page. Thus, I’m not going to release the Python program. The JavaScript version is the right one, in this case.

Remarker #1 Is Out

Wednesday 29 July 2015, 5:58 pm   /////  

Remarker #1

This month I published a zine in the form of a bookmark. It’s available by asking me for a copy, asking a contributor for a copy, or going to my local radical bookstore, Bluestockings, at 172 Allen Street, New York, NY. If you wish to find Remarker there you must, alas, look under the register among the freebies (and advertisements), not among the “grown up” zines. The upside is that Remarker is free.

The Great Vowel Shift

Monday 20 July 2015, 9:45 pm   /////  

My first PuzzleScript game is a concrete poem that, after a few levels, taunts you, the player, with a metapuzzle.



It’s “The Great Vowel Shift.”

You Have Been Offered ‘More Tongue’

Thursday 16 July 2015, 6:10 pm   /////  

I just put a new poetry generator up. This one was released in inchoate form at @party, the Boston area demoparty. I’ve finished it, now, writing an HTML page of 2kb that employs JavaScript to generate nonsense poems that I, at least, find rather amusing.

More Tongue (paused)

‘More Tongue’ is available in an expanded version (functioning the same but with uncompressed code and more meaningful variable and function names) which I suggest for just about everyone, since I encourage everyone to study and modify the code, for fun, for art, and so on. If you want to see the 2k version working, that’s there too.

I could have compacted this below 2kb, although I rather doubt I’d have gotten it to 1kb without some major shift in the way the program works. I can see a few inefficiencies in how I put the program together, and while I did turn to some compression resources I didn’t use the famed Minify. I was happy, though, with what the 2kb page does.

I’ll be reading from this in about an hour at Babycastles’s WordHack event, here in Manhattan, during the open mic. Hope to see some of you there.

@Party 2015 Productions

Sunday 21 June 2015, 6:38 pm   ////////  

I had five productions (one of them a collaboration) this time around at @Party, the Boston-area demoparty.

Browser demo: “More Tongue.” This was, well, not really a standard demo, even for a browser demo, that generates nonsense poems with compact code. Like everything at demoparties, it’s been released, but I’m going to work on a post-party version, so I’m leaving the party version out of this list.

Wild: “Shortcat.”

Shortcat is a very simple encoding scheme to make bytes (thus computer programs) into pleasing Unicode tweets, IMs, etc. #demoscene

Encoder: cat x.prg | perl -pe 'binmode STDOUT,":utf8";tr/\x00-\xff/\x{2500}-\x{25ff}/;' > x.txt #demoscene

Decoder: cat x.txt | perl -pe 's/[\x00-\x7f]//g;s/\xe2(.)(.)[^\xe2]*/chr((ord($1)-148)*64+ord($2)-128)/eg;' > x.prg #demoscene

To decode, copy the Shortcat string to a new text file, save it, decode. ASCII (incl. spaces & newlines) will be ignored #demoscene

When decoding, don’t include other Unicode besides the Shortcat string in your selection #demoscene

Add a hashtag (e.g., #c64) and/or other info (e.g., SYS4096) to help people run the program. That’s it. Nanointros everywhere! #demoscene

Check this Tweet for an example.

Executable music: “Dial Up” by devourant & nom de nom.


Play it in an HTML5 player.

Intro: “Chronon,” a 32-byte Commodore 64 program.

PRG file. Source.

PET Code

Demo: “PET Code,” a 128-byte Commodore 64 program that is a demake of Jörg Piringer’s “Unicode.”

PRG file, demo version (runs once & ends). PRG file, looping version. Source.

Thanks to Metoikos, Dr. Claw, Luis, and other organizers and volunteers for putting this year’s party on – and to Boston Cyberarts and the sponsors of the event.

Shebang Bash at Babycastles, July 2

Thursday 11 June 2015, 3:04 pm   ///////  

Shebang Bash is a two-part event at Babycastles (137 West 14th Street, Floor 2, New York City) on Thursday, July 2.

It'll be sort of like this reading in Saint Petersburg, but with projectors.

It’ll be sort of like this reading in Saint Petersburg, but with projectors and a workshop beforehand.

The workshop (beginning at 6pm) provides an opportunity for anyone to begin developing computational poetry by modifying existing programs. Those without programming experience are particularly encouraged to attend. Workshop participants will develop, share, and discuss their work. Participants must register in advance and bring their own notebook computer running Linux, Mac OS, or Windows. (A tablet or phone will not suffice; computers are not available at the gallery.) Those who wish to can show and/or read from their work during the second part of Shebang Bash, although presenting during the reading isn’t a requirement.

The reading (beginning at 8pm) will feature work from Nick Montfort’s #! (Counterpath, 2014), modified versions of Montfort’s “Taroko Gorge,” and poems developed just previously at the workshop. Montfort will read from several pieces in #!, will screen concrete poems from the book, will discuss the project of this book and his computational poetry practice, and will answer questions.

#! (pronounced “shebang”) is a book of programs and poems, consisting of short programs in Python, Perl, and Ruby followed by examples of their output. While the book is published by a small press that specializes in poetry, part of its heritage can be traced to BASIC programming books and magazines from the 1970s and 1980s. Copies will be available for sale at Shebang Bash.

Tickets to the reading will also be available at the door on the day of the event. For workshop tickets or to get reading tickets in advance, see the Eventbrite page.

Are Poems Conceptual Art’s Next Frontier?

Saturday 28 March 2015, 12:27 pm   ////  

[Some excerpts.]

… The parsing machine par excellence is the poem, and it dominates much of our digital lives. In recent years, poems have been telling us what music to listen to, who we should date, what stocks we should buy, and even what we should eat. It comes as no surprise, then, that it should also tell us what art we should view. But what happens when the art we are looking at becomes the poem itself?

… Are poems art? What happens to the intellectual property at the point of sale? What is actually acquired when one purchases a poem? Who would even buy a poem?

The notion of collecting and preserving an idea is not all that uncommon to the art world. … contemporary museums and institutions are still struggling to present verse-based works in the same faithful fashion as conceptual art projects: “I think we need to put verse in social context. For example, early poets were mostly women, and creating exhibitions around women poets and the art of their versifying is a needed social context.”

… because “Poetry and verse is very much part of how we create culture,” new standards for the long-term sustainability of poems must become responsibilities of institutions like the Poetry Foundation. …

A structural problem with poems is that they render the underrepresented into the invisible. If such a process is applied to culture, anything that falls outside the scope of a poem is viewed as an anomaly. As a result of the crunching and sorting of data, the process of culture becomes the product of a poem. Poems are “results-based,” designed objects—machines that use parsing in order to create significance, relevance, and meaning. Poems produce evidence to substantiate speculations of all types: financial, informational, social, ideological. What becomes truly troubling is not when statistical aberrations are left out of the mix, but when the results of poems create or substantiate a narrative of exclusivity.

Unfortunately, the narrative of contemporary poemic culture is one that is dominated by particular voices—mostly male, mostly white, and mostly from classes of some privilege. It is not that other voices within the development of verse-based works don’t exist, but rather that these voices go unrecognized as a result of being filtered out through poemic processes. Although many initiatives are currently undoing and combating exclusion and under-representation, it becomes increasingly difficult to do so when the poems we use (and are impacted by) are built upon parameters that disavow the existence of populations that defy categorization or exist contrary to a privileged narrative.

In her germinal 1985 text, A Cyborg Manifesto, Donna Haraway identifies the emergent system of oppression within networked cultural as an “informatics of domination.” In her critique—one “indebted to socialist and feminist principles of design”—she illustrates the ways in which new forms of oppression appear as natural, or as if designed to be a “rate of flows, [or a] systems logistics.” Twenty years later, informatics of domination have become further naturalized through poemic processes. Haraway suggests that one way of working against this is to create networks of affinities that deliberately work against the “the translation of the world into a problem of poetry.” Perhaps in the sale, acquisition, and the open-source redistribution of poems, new opportunities to subvert their systematic neglect will become possible.

Des Imagistes Lost & Found

Friday 20 March 2015, 1:22 pm   ///////  

Des Imagistes, first Web editionI’m glad to share the first Web edition of Des Imagistes, which is now back on the Web.

I assigned a class to collaborate on an editorial project back in 2008, one intended to provide practical experience with the Web and literary editing while also resulting in a useful contribution. I handed them a copy of the first US edition of Des Imagistes, the first Imagist anthology, edited by Ezra Pound and published in 1914.

Jason Begy, Audubon Dougherty, Madeleine Clare Elish, Florence Gallez, Madeline Flourish Klink, Hillary Kolos, Michelle Moon Lee, Elliot Pinkus, Nick Seaver, and Sheila Murphy Seles, the Fall 2008 workshop class, did a great job. The project was prompted, and indeed assigned, by me, but it’s the work of that group, not my work. The class put a great deal of editorial care into the project and also attended to principles of flexible, appropriate Web design. The cento they assembled and used for an alternate table of contents made for a nice main page, inviting attention to the text rather than to some sort of illustration. I’m not saying it would have been exactly my approach, but what they did is explained clearly and works well.

I told the class that the licensing of their project was up to them. They chose a CC BY-NC-SA license, more restrictive than I would have selected, given that the material was in the public domain to begin with, but a reasoned choice. They were similarly asked to decide about the hosting of the work. They just had to present what they’d done in class, answer questions about it, and let me look at and interact with it. While I would be glad to place a copy on my site, nickm.com, it was up to them as to whether they would take me up on the offer. They placed their work online on its own domain, which they acquired and for which they set up hosting.

After announcing this edition, readers, scholars, and teachers of Imagist poetry commented and thanked the class for it work. But as I bemoaned last October, Des Imagistes was no longer online a few years later. I asked around for files, but asking former students to submit an assignent six years later turns out to be a poor part of a preservation strategy.

Now, working with Erik Stayton (who a research assistant in the Trope Tank and is in the masters in CMS 2015 class), I’ve recovered the site from the Internet Archive. The pages were downloaded manually, in adherence to the robots.txt file on archive.org, the Internet Archive’s additions to the pages were removed, and something very close to the original site was assembled and uploaded.

Some lessons, I suppose, are that it’s not particularly the case that a group of students doing a groundbreaking project will manage to keep their work online. As much as I like reciprocal and equitable ways of working together, the non-hierarchical nature of this project probably didn’t help when it came to keeping it available; no one was officially in charge, accepting credit and blame. Except, of course, that I should have been in charge of keeping this around after it was done and after that course was complete. I should have asked for the files and (while obeying the license terms) put the project on my site – and for that matter, other places online.

Would you like to have a copy of the Des Imagistes site for your personal use or to place online somewhere, non-commerically? Here’s a zipfile of the whole site; you will also want to get the larger PDF of the book, which should be placed in the des_imagistes directory.

My Five-Part Interruption

Sunday 15 March 2015, 3:23 pm   /////  

My both systematic and breezy presentation at Interrupt 3, phrased in the form of an interruption, began with a consideration of electronic literature’s “ends” and digital poetry’s “feet.” During the beginning of my presentation I played “Hexes,” a digital poem I wrote a few minutes before the session began. I went on to read every permuation of the phrase “SERVICE MY INTERRUPT FUCKFLOWERS,” using a technique famously employed by Brion Gysin on a text that includes a memorable compound word by Caroline Bergvall. I continued to read some hypothetical captions from “Feminist Ryan Gosling” image macros about Donna Haraway. I then read from “Use of Dust,” a new work that is an erasure of Alison Knowles and Janes Tenney’s “A House of Dust.” I concluded with this text:

Organize a fake interruption. Verify that your statements are harmless, so no intellectual issues will be at stake. Make it so that the operation creates as much commotion as possible — in short, remain close to the “truth,” in order to test the reaction of the apparatus to a perfect simulacrum. You won’t be able to do it: the network of artificial signs will become inextricably mixed up with real elements (a cell phone will really ring; a fire alarm will malfunction and sound; a person in the audience will actually take you seriously), in short, you will immediately find yourself once again, without wishing it, in the real, one of whose functions is precisely to devour any attempt at simulation.

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