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.
ITP (the Interactive Telecommunications Program) at NYU is having a Code Poetry Slam on November 14. And they are seeking entries now! Send them along no later than November 7.
Hey, lookit here. Not only is 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark C. Marino, Michael Mateas, Casey Reas, Mark Sample, and Noah Vawter, MIT Press, 2013) available for free online as a Creative Commons PDF, and available in the original harback edition that MIT Press published, it’s also now in paperback.
The paperback looks beautiful, by the way, thanks to the design work and attention of our co-author Casey Reas.
I will be reading from and discussing three recent books this Thursday at 7pm the Harvard Book Store here in sunny Cambridge, Massachusetts. These are:
Counterpath Press, Denver
a book of programs & poems (pronounced “shebang”)
Bad Quarto, Cambridge
a computer-generated novel
10 PRINT CHR$(205.5+RND(1)); : GOTO 10
MIT Press, Cambridge
a collaboration with nine others that I organized, now out in paperback
These all express how programming can be used for poetic purposes, and how new aesthetic possibilities can arise with the help of computing. Also, some portions of these (which I’ll read from) are quite pleasing to read aloud and to hear.
I would love it if you are able to join me on Thursday.
I’m reading at the Harvard Book Store on September 18 – a week from now, on Thursday. The reading is at 7pm.
I’ll be presenting and reading from my latest book, #! (pronounced “shebang”), which is a book of programs and poems, published by Counterpath Press in Denver.
I’ll also discuss my previous two books, one of which is World Clock. I developed this for National Novel Generation Month last November; it’s a computer-generated novel. Cleverly enough, it’s been translated into Polish via translation of the underlying program.
The other recent book is 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, which I organized and wrote with nine others. This one, an MIT Press book, is just out in paperback. This is a critical, scholarly study of a one-line program, and although it is an academic book of this sort, it of course has a strong relationship to the code-generated World Clock and the programs-and-poems #!.
The programs behind #!, by the way, are all available online as free software at my site, nickm.com. The book is there as an example of how this particular material form can represent the code and the output, and how page differs from screen, sometimes in very interesting ways.
If you’re lucky enough to be in Harvard Square often, please do come by to the reading. I will do my best to make it fun and provocative, and to provide some additional insight into computing and how it interacts with language.
Doug Orleans pointed me to “Lost Lessons from 8-Bit BASIC,” a blog post that makes the case that there were real, practical advantages to the much-maligned BASIC programming langauge, at least in the context of the home computer era.
A correspondent in Brazil sends news of a new call for papers in the journal Texto Digital. The recent issues have been almost entirely in Portuguese, but the journal is reaching out and seeking submissions in several languages. I think you can tell from the title (even if your Portuguese is a bit rusty) that this publication focuses on some very Post Position (and Grand Texto Auto) sorts of topics. Here’s the call:
Texto Digital is a peer-reviewed electronic academic journal, published twice annually in June and December by the Center for Research in Informatics, Literature and Linguistics – NuPILL (http://www.nupill.org/), linked to the Postgraduate Program in Literature, the Department of Vernacular Language and Literatures and the Center of Communication and Expression at the Federal University of Santa Catarina (UFSC), Brazil.
Texto Digital publishes original articles in Portuguese, English, Spanish, French, Italian and Catalan which discuss several theoretical implications related to the texts created/inserted in electronic and digital media.
Interdisciplinary by nature and range, as implied in its title with the words “text” and “digital”, the journal embraces the fields of Literature, Linguistics, Education, Arts, Computing and others, in their relation to the digital medium, yet without privileging any specific critical approach or methodology.
In addition to the Articles Section, Texto Digital presents specific sections destined on publishing digital works of art, as well as interviews with recognized researchers and / or digital artists.
Once submitted, all articles that meet the general scope of the journal and its guidelines will be considered for peer-review publication, even in case of issues that may favor some particular subject-matter.
CALL FOR PAPERS – TEXTO DIGITAL
Texto Digital, the electronic journal published by the Center for Research in Informatics, Literature and Linguistics (NuPILL) at the Federal University of Santa Catarina (UFSC), Brazil, informs that submissions for articles are open until October 15th, 2014.
We accept papers that analyse the relationships of digital media with one or more of the following subjects: Literature, teaching processes (reading and writing in particular, but not restricted to), language studies and arts in general. Accepted papers will be published in our our December issue (n.2/2014).
Submissions for our journal are open on a continuous flow basis since September 1st, 2014, for academic papers that fit its scope. Our publication standards and guidelines are available at:. https://periodicos.ufsc.br/index.php/textodigital/about/submissions#authorGuidelines. Only papers in accordance with such criteria will be accepted.
I was delighted to see that my latest book, #!, a book of programs & poems, made the July Poetry bestseller list for Small Press Distribution. SPD is the distributor for my press, Counterpath, along with many other fine presses that publish poetry. #! (which is pronounced “Shebang”) came in at lucky number 13 last month.
It’s particularly nice to see since the book was just becoming available online and in bookstores around the middle of the month, and given that if you search for the book by title on Amazon.com you get 47,921,926 results, presumably due to the title having no letters or numbers. (You can search for it using my name.) There’s also the issue that the book consists entirely of short computer programs and their outputs, which I think is very neat, but which some believe to be a bit esoteric. Actually, I hope the book is rather intelligible and fun, by connecting some of the popular programming of the 1970s and 1980s to contemporary conceptual writing and poetry.
By the way, if you are having trouble getting the book from a local store or online, you can order it directly from SPD.
While I read some from #! in Michigan recently at the Postscript symposium and exhibit, I’ll be beginning to do readings in earnest next month. The first one is planned for September 18, 7pm, at the Harvard Book Store. More on that soon…
If you’ve been looking for my latest book, #!, and are looking to buy it online, check isbn.nu. At the moment of posting, it’s available from three sellers, one on pre-order. Barnes & Noble is the bookseller with the lowest price and fastest delivery; Amazon.com offers to get it to you 3-4 weeks later.
In Cambridge, I have yet to see the book on shelves, but I know copies are at least on order (if not readied for purchase) at the MIT Press Bookstore and the Harvard Bookstore. And, Grolier Poetry Book Shop also had a few copies.
Update, July 17, 5pm: The local place to get a copy of #!, at the moment, is the MIT Press Bookstore. That’s at 292 Main Street, right outside the Kendall T stop. This is the MIT Press Bookstore, not the MIT Coop, and in the “Faculty Authors” section they do currently stock copies of my latest book.
Update, July 18, 1pm: B&N no longer has the book listed for whatever reason. It can be obtained online, right now, from Small Press Distribution, though.
My new book of programs/poems, #! (pronounced “Shebang”), has just been published by Counterpath.
Read all about it on the press’s page for #!.
The book consists of poetic programs and their outputs. The programs in the book are all free software, and in case you don’t want to type them in, the longer ones are all available in my “code” directory.
I hope you’ll get a copy at your local independent bookseller.
codewiz and I (nom de nom) showed a wild demo at @party yesterday (June 14) at MIT.
The concept is based on one-line C programs to generate music, the earliest of which were by viznut. I (nom de nom) wrote a C expression in this style to generate a waveform that could be output as sound but also consisted of all printable ASCII characters. The source is about 1kb, without much effort at compression. And the sound, in addition to driving speakers, can be (and was) connected to a Tesla coil.
To connect the oneTesla coil he built, codewiz modified the firmware and the control box to allow the audio output to be read by the potentiometer input. He also wrote dsptee.c to improve the way the text scrolls.
Topsy was the elephant electrocuted by Thomas Edison in 1903 to help prove that AC electricity (advocated by Tesla) was unsafe.
My main disappointment was that the projector, which I thought would be HD and thus the same as my display, showed only the left-hand side of the video. I should have checked it more thoroughly before we got started.
We were very pleased to get second place behind a nice oscilloscope demo.
The final section of the demo is based on the bpNichol poem “Island,” part of his Apple IIe collection First Screening. This poem, in turn, refers to a concrete poem by Ian Hamilton Finlay. I’ve put a video/screencast of the end of the production online.
I persist in my quest to develop extremely simple, easily modifiable programs that produce compelling textual output.
My latest project is Modern Perverbs. In a world where nothing is as it seems … two phrases … combine … to make a perverb. That’s about all there is to it. If phrase N is picked from the first list, some phrase that isn’t number N will be picked from the second, to ensure maximum perverbiality. The first phrase also carries the punctuation mark that will be used at the very end. This one is a good bit simpler than even my very simple “exploded sentence” project, Lede.
(I learned of perverbs and their power, I should note, thanks to Selected Declarations of Dependence by Harry Mathews.)
In NOO ART, The Journal of Objectless Art, there’s a conversation between Páll Thayer and Daniel Temkin that was just posted. (Thayer recently collaborated with me to put up “Programs at an Exhibition,” the first software art show at the Boston Cyberarts Gallery.) The conversation covers Thayer’s code art, including his Perl Microcodes and antecedents, but also touches on free software, Windows, various esoteric languages by Temkin and others, painting and drawing, Christiane Paul’s CodeDOC project at the Whitney, “expert cultures,” and the future of code-based art.
It’s great reading, and objectless art might be just the thing to go with your object-oriented ontology.
Here’s some documentation of “Programs at an Exhibition” by Nick Montfort & Páll Thayer, an exhibit of five Commodore 64 BASIC programs and five Perl programs at the Boston Cyberarts Gallery, March 6-16, 2014.
The front of the gallery hosts a Commodore 64 running Nick Montfort’s “After Jasper Johns” (left) and an Intel/Ubuntu computer running Páll Thayer’s “Flag” (right). These two pieces respond to and rework the famous 1954 painting, Flag, which is in the collection of the MoMA. Jasper Johns, we salute you.
Visitors are invited to take cards with all of the code to the five one-line BASIC programs and the five Perl programs that are running in the gallery. For you online visitors to this documentation, a disk image of the five C64 BASIC programs can be downloaded; VICE or another C64 emulator can be used to load, run, list, and modify the five programs on that image. (Except for “Zen for Commodore 64,” the programs do have to be retyped or broken into several lines to be modified.) Also, Páll Thayer’s entire Microcodes series, which includes the exhibited programs and which Thayer began in 2009, is online.
Páll Thayer’s “How to explain Perl to a dead hare,” based on the similarly-named 1965 performance by Joseph Beuys. The Perl program reads the Perl documentation aloud, one word at a time. The Perl documentation, incidentally, is really quite amusing to listen to.
Páll Thayer’s “Erased de Kooning” enacts (repeatedly, in this instance) the erasure of one of Willem de Kooning’s drawings by Robert Rauschenberg.
Not shown but also in the exhibit are Páll Thayer’s “Seedbed” and “Untitled composition.”
Nick Montfort’s five Commodore 64 programs running on five of the taupe keyboard-and-CPU units. Two of the monitors, the smaller ones, are NEC 12″ CRTs; the other three are Commodore 1702 CRT monitors. On the middle display, one of the zip paintings generated by “After Barnett Newman” can be seen.
On the left, Nick Montfort’s “After François Morellet,” which presents in one-character form all of the paintings that Morellet would have eventually painted if he continued to do other panels in his 1958 “6 répartitions aléatoires de 4 carrés noirs et blancs d’après les chiffres pairs et impairs du nombre Pi.” On the right, the instance of Nick Montfort’s “After Jasper Johns” that is running on a CRT monitor.
As with all of the programs, the complete code is presented along with the work’s title, the year of development, and the aritst’s name. The BASIC programs are also written out in a clearer form, with comments.
Not shown up close but also in the exhibit, in addition to “After Barnett Newman,” are Nick Montfort’s “Zen for Commodore 64″ and “After Damien Hirst.”