There’s lively discussion of the 10 PRINT book and the 10 PRINT program, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, (via the Slate review) over at Reddit. The Enterprise Java port of the program, contributed early on, is truly classic.
Sometimes I encounter language that sounds like it was computer-generated, or that sounds like it would be even better if it was. Hence, the slapdash “Lede,” which is based on the first sentence (no, not the whole first paragraph) of a news story that was brought to my attention on ifMUD.
This very simple system does incorporate one minor innovation, the function “fresh(),” which picks from all but the first element of an array and swaps the selection out so that it ends up at the beginning of the array. This means that it doesn’t ever pick the same selection twice in a row.
Happy Thanksgiving, my fellow Americans.
Ben Grosser created Facebook Demetricator, a tool that removes counts from Facebook, so that instead of displaying “14,836 people like this” your interface will simply say “people like this.”
I love the concept. I haven’t seen it in action myself, because of my use of a manually-implemented “DeFacebookizer” that, rather than enmeshing me in the most direct possible corporate system of social control and structure, leaves me with only the heterogeneous, diverse, and open communications from people on the World Wide Web. The Web is not a pure wonderland, though. These sorts of communications are, of course, also continually subject to statistical analysis and displays of counts – how many comments on a blog post, for instance. To intervene in the count-obsession of digital media, it makes sense to go to where it is most prominent.
Grosser discusses his deaugmentation of Facebook in an interview with Matthew Fuller.
Illya Szilak interviews Nick Montfort in the article “The Death of the Novel: How E-Lit Revolutionizes Fiction,” the first of a series of posts on electronic literature.
I was at a workshop in Bergen on Tuesday and a conference in Edinburgh Thursday through Saturday. There were many interesting things to report or at least mention, and I’ve only managed to note two of them on the blog so far. I’ll also mention that in Bergen, I did the first transverse reading of the full ppg256 series, reading through the seven generators’ output four times. I was very pleased with the art gallery setting, the other readings and screenings, and the way my reading went.
Fortunately there is good documentation of both events in the ELMCIP Knowledge Base, a resource that lists critical work, events, and presentations about electronic literature as well as works of e-lit themselves. For these two events, abstracts and (in the case of the “Remediating the Social” ELMCIP conference in Edinburgh) full papers are included in the Knowledge Base as well.
For instance, my presentation in Bergen, represented by an abstract in the Knowledge Base, was “The ELO and Two E-Lit Exhibits.”
And, my keynote address at the beginning of the ELMCIP conference in Edinburgh was “Programming for Fun, Together,” for which a corresponding paper is available. I covered the main topics of the paper in about the first half of the talk and spent the second half trying to explain how to program in Commodore 64 BASIC, using concrete-poem-generating programs (including 10 PRINT CHR$(205.5+RND(1)); : GOTO 10) as my examples. I began by developing a program that prints “H” or “I” at random, using bpNichol’ favorite letter (“H”) and an adjacent letter that can be seen as either a rotation of “H” or a component of it. A one-line program was developed to printing either one uniformly at random. In part, this was my response to the less interesting but certainly more conventional “HELLO WORLD” program. I continued to show how a program that printed “x” or “y” could be quickly developed by modifying this one, after using Commodore BASIC itself, via the ASC function, to determine the appropriate new ASCII code. Then, I converted that program to “our” 10 PRINT (that is, the program I and nine co-authors have written a book about) and showed how the distribution and pair of characters could be changed.
In presenting these various 10 PRINT programs and developing new ones through modification, I wanted to show that BASIC programming can truly be undertaken in an exploratory way without a great deal of background. I also wanted to share with the group some of the amazing facility for poetic experimentation that is provided by a 30-year-old computer, inexpensive even at the time, that allows you to program immediately after being turned on.
My only regret related to the talk was that Rita Raley, who was scheduled to be the respondent for my talk, was unable to make it to the conference due to the storm damage and flooding in New York City. Scott Rettberg filled in and made a worthwhile connection from collaborative, social programming activity to collaborative writing, also questioning my four points about programming socially for fun.
The Edinburgh conference, which featured an exhibit at the Inspace gallery and performances throughout, resulted in a book that includes not only academic papers but also “artist’s pages” documenting the artistic works. I hope you’ll be interested in taking a look at the good supply of online “Remediating the Social” material.
“Rough Cuts: Media and Design in Process,” a set of “middle-state artifacts” curated by Kari Kraus, has just been presented as part of The New Everyday, a project at MediaCommons.
My contribution is a printout of “Taroko Gorge” in the original
Klingon Python. I also offer some discussion of this printed page, representing one phase of a poetry generator that has been reworked and plundered more than a dozen times.
Zuzana Husárová and Nick Montfort up the ante for experimental writing by examining the category of “shuffle literature.” What is shuffle literature? Simply put: books that are meant to be shuffled. Using formal reading of narrative and themes, but also a material reading of construction and production, Husárová and Montfort show that there are many writing practices and readerly strategies associated with this diverse category of literature.
These are unedited search queries, all recorded in this sequence and all from the same “anonymized” user, on the evening of 2006-04-07. They were found in the user-ct-test-collection-03.txt, one of the leaked AOL search query files from 2006.
jaimiewantsahondacivic www.iwantahondacivic.com jaimiedeservessomethingthistime mickisselfish.com www.selfishhusbands.com hondacivicshondacivicshondacivics iwantahondacivic.com hondacivicforjaimie jaimiewantsahondacivicplease if you love me then please buy me a civic
News of a strange new social network, Monolyth, reaches us from December of this year and from Chris McDowall.
To sate the great appetites of the system, which will only publish messages at least 140,000 characters long (and will abbreviate longer ones), authors turn to unusual techniques.
One of these is generating massive texts using modified versions of Taroko Gorge, one of which is included in the blog post.
It’s not bigger and longer than _Star Wars,_ but it is more uncut: “Death of the Author [Psycho Shower Scene RECON]” by Dick Whyte. This, somewhat like the later famous Star Wars video, is a “reconstruction of Alfred Hitchcock’s famous shower scene from Psycho using amateur YouTube remakes.” 57 of them.
If you got that and you’re ready to increase the avant-garde, see also “John Cage – 4’33” [May ’68 Comeback Special RECON]” and “Andy Warhols Eat A Hamburger [38 Scenes From YouTube RECON].” All from 2010, but recalled here for your enjoyment.
Welcome back to the Web’s major agglomeration of the avant-garde, Ubuweb.
(I don’t know that Ubu actually runs Ubuntu, but some statements are univocalically true regardless. And the site is back up, that’s for sure.)
I was extremely pleased to read Michael Leong’s discussion of Sea and Spar Between in At Length. Among other things, he considers in what way this could be considered a “long poem,” makes connections to Whitman’s “Crossing Brooklyn Ferry,” treats the interface and experience, and recounts a hilarious exchange between Toni Morrison and Oprah Winfrey. I really appreciated his discussion of different types of attention spans; these were issues that I (and I know Stephanie) have had in mind for quite a while.
At any rate, if you are interested in my & Stephanie Strickland’s Sea and Spar Between, or if you’ve been wondering about this piece but can’t figure out what to make of it, please take a look at Michael Leong’s article.
As I wrote a few days ago, I made a statement about “Taroko Gorge,” and all of its vandals, at the ELO conference in Morgantown, WV.
Un file de Machine Libertine:
Star Wars, Raw? Rats!
… is a videopoem by Natali Fedorova and Taras Mashtalir. The text is a palindrome by Nick Montfort that briefly retells “Star Wars Episode IV: A New Hope,” making Han Solo central. The soundtrack is a remix of Commodore 64 music by Sven Schlünzen & Jörg Rosenstiel made by Mashtalir.
The palindrome is a revised version of the one Montfort wrote in 75 minutes for the First World Palindrome Championship, held in Brooklyn on March 16, 2012:
Solo’s deed, civic deed.
Eye dewed, a doom-mood.
A pop …
Sis sees redder rotator.
Radar eye sees racecar X.
Dad did rotor gig.
Level sees reviver!
Solo’s reviver sees level …
Gig rotor did dad!
X, racecar, sees eye.
Radar rotator, redder, sees sis …
Pop a doom-mood!
A dewed eye.
Deed, civic deed.
Solo’s sagas: wow.
Machine Libertine: http://machinelibertine.wordpress.com/
The big-screen premiere of Star Wars, Raw? Rats! will be at MIT in room 32-155 on Monday, April 30, 2012. The screening, which includes a set of films made by members of the MIT community, will begin at 6pm.
My word-palindrome writing project (being undertaken as @nickmofo) has been boosted by Christian proselytizing, by Bök’s page. I am delighted to be featured in Christian Bök’s post on Harriet as an instance of conceptual writing on Twitter – named, in fact, right after @Horse_ebooks.
This makes it particularly apt that Christian describes my writing as potential poetic “fodder.” Why not treat this feed of texts as the gift horse that keeps on giving? Please, feel free to make the tweets of @nickmofo into your chew toy.
The organizer of the People’s Republic of Interactive Fiction, Kevin Jackson-Mead, has organized and co-written a tribute to the 1992 They Might Be Giants Album, Apollo 18. At the PR-IF site, you can play and download 38 short games corresponding to every song (including the “Fingertips” songs) on the album. With its retro cachet, it may be today’s version of Dial-a-Song: