Nick Montfort
Robert Yang’s latest is a first-person-shooter version of Jorge Luis Borges’s “The Garden of Forking Paths.” With a lovingly off-kilter translation (befitting its “original”) and with visuals and (quite minimal) interaction that suits the experience, this is an extraordinary set of linked mini-games, well worth the short amount of time it takes to get through them, and worth offering at least a bit for this pay-what-you-will game.
Check out Intimate, Infinite.
Just out: Introduction to Game Analysis, a book that covers many different approaches to understanding games, and particularly (although not exclusively) videogames. (Check the availability of the book online.) It’s by Clara Fernández-Vara, now on the faculty at the Game Center at NYU, who did one of the first digital media PhDs at Georgia Tech and was for many years my colleague here at MIT – I’m glad she was also part my of lab, The Trope Tank, for some of that time. Fernández-Vara is a scholar of games and an award-winning maker of games as well, and in both cases her emphasis has been on adventure games.
It’s been valuable to learn, over the years, how to view games as we would literature or film, and how to bring specific individual approaches to bear in understanding them. Now, Introduction to Game Analysis offers numerous methods of analysis that each treat games as games. These approaches are systematically organized and well thought out, too. Anyone in game studies or digital media should find this book compelling; A person who is coming to video games from another field, or who has been in the field and is looking to teach an introduction to video games, will find it essential.
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…
A self-portrait taken by a monkey is at issue in a copyright dispute. Wikimedia claims that it would belong to the monkey, if non-human animals could hold copyrights, and because they can’t, it’s in the public domain. The owner of the camera has another idea. Here’s The Telegraph on the subject. Also, the Wikipedia page where the photo appears, and the full-size photo with Wikimedia’s copyright position available via the media viewer.
Now, I know this isn’t an urban selfie, but I would love to see it and many other non-human selfies incorporated into the Selficity project. We might find interesting correlations regarding the angle and variation in head tilt, for instance. And of course it would be provocative to just know which of the five cities shoots selfies in a way that is most similar to monkeys.
The call for submission for the Electronic Literature Collection volume 3 has been posted. If you do digital work that has one or more literary aspects (even if it’s more often called art or a game), in any language, please check it out. The collective is an excellent group and the direction for this collection is an exciting one.
Anders Nilsen’s
latest Drawn & Quarterly publication is a formidable follow-up to Big Questions. The accordion book holds the human stories of forgotten (and current) gods, told in text and striking silhouettes.
Long ago (well, at the end of 2012) I was asked by .Cent magazine, a free-to-read, nicely designed online multimedia publication out of London, for a few comments about my work and my approach to electronic literature. Amazingly, having recently unearthed my responses, I find that they are still relevant! You can read my answers and the rest of the issue in its full splendor, but, very belatedly, I’ll offer my response here as well:
I see electronic literature as a something beyond a genre or a literary movement: It’s an argument that literary art and literary experience have a place in our digital environment alongside the many other ways that networked computing is used. Those of us working in electronic literature are demonstrating that we can have poetic, imaginative, narrative, conceptual, and other sorts of work and experiences online, in addition to commercial, communication, and gaming experiences. We don’t have to share an aesthetic or hold similar political ideas in order to make this argument together, because we’re arguing for something fundamental to future work: The chance to develop literature (of any sort) using the capabilities of the computer and the network.
My own focus is on projects that engage collaboration and computation to bring us into a new, disoriented, and potentially productive relationship to the computer and the world. A recent project that is both highly collaborative and highly computational is Sea and Spar Between, a poetry generator Stephanie Strickland and I developed. In it, we bring together words from the vocabulary of Melville and Dickinson, present a sea of textual data that is far beyond the human ability to read but which can be understood in some ways, and suggest a collaborative, computational, and literary-historical perspective on the natural world. In my “solo career” I have written very short programs such as those in the ppg256 series and those in the set Concrete Perl, to investigate, poetically, how computation and a particular programming language hook into the English language. Some of my other collaborative e-lit projects are Implementation with Scott Rettberg and Three Rails Live with Scott and Roderick Coover, both of these dealing with urban and global experiences buy cutting up narrative forms in new ways.
The latest technical report (or “Trope Report”) to issue from the Trope Tank is TROPE-14-01, “New Novel Machines: Nanowatt and World Clock“ by Nick Montfort:
>My Winchester’s Nightmare: A Novel Machine (1999) was developed to bring the interactor’s input and the system’s output together into a texture like that of novelistic prose. Almost fifteen years later, after an electronic literature practice mainly related to poetry, I have developed two new “novel machines.” Rather than being works of interactive fiction, one (Nanowatt, 2013) is a collaborative demoscene production (specifically, a single-loading VIC-20 demo) and the other (World Clock, 2013) is a novel generator with accompanying printed book. These two productions offer an opportunity to discuss how my own and other highly computational electronic literature relates to the novel. Nanowatt and World Clock are non-interactive but use computation to manipulate language at low levels. I discuss these aspects and other recent electronic literature that engages the novel, considering to what extent novel-like computational literature in general is becoming less interactive and more fine-grained in its involvement with language.
This was the topic of my talk at the recent ELO conference. Share and enjoy!
(My Philosoraptor question for the day…)
Check out Tully Hansen’s riff on one of the poems from bpNichpol’s First Screening – authentic or not …
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.
Clocks are great machines to design, at least from my perspective as a designer of software machines. My classes have had unusual clock design as an exercise; time-telling systems are not interactive, provide a lot of freedom to the designer, and yet require programmers to develop general functions that work for any time of the day. I know that Michael Mateas and Paolo Pedercini have students program clocks, too. I’ve appreciated software clocks by John Maeda and others, and it’s nice to have a clock as a standard example in Processing.
So, I was delighted to see that 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 inspired Vincent Toups to create a another of his many aesthetic software clocks, Clock 52.
I can no longer keep myself from commenting on the Facebook “emotional manipulation” study. Alas. Here are several points.
…is really excellent. Anyone interested in Harry’s work, or, more broadly, the Oulipo, should read it. Thanks, of course, to Barbara Henning for doing the interview and EOAGH for publishing it.
The New York Times has an article (online today, in print tomorrow) entitled “Text Games in a New Era of Stories,” about ye olde interactive fiction and new-fangled manifestations of it, including Ms. Porpentine’s Howling Dogs and Ms. Short’s Blood & Laurels.
(Okay, it must be admitted that even The New York Times didn’t refer to the author of Howling Dogs as “Ms. Porpentine.”)
Exciting news for Polish-readers (and, I think, others): The new issue of Techsty, number 9, is out. You might think that a “Techsty” is just a place where infopigs like me live, but it’s actually a long-running site (since 2001) on digital literature, with an esteemed journal that has been published since 2003.
The current issue includes translations of articles by Robert Coover and Brain McHale, an article by Seweryna Wysłouch, and a special section on an audacious project. This is the translation of Sea and Spar Between, by Nick Montfort and Stephanie Strickland, which is a fairly extensive special-purpose poetry generator that is fair entwined with the English language (as well the specific authors from whom it draws: Emily Dickinson and Herman Melville). Not only did the two translators tackle the difficult and in fact unprecedented task of translating the underlying system to Polish, so that the program generates stanzas in that language; they also translated our comments from the “cut to fit the toolspun course” edition of the work. I hope this will invite remixing and code re-use in Polish as well as helping to improve the understanding of our project and our collaboration. Monika Górska-Olesińska also has an article on Stephanie Strickland’s work, with a photo of Stephanie reading just a few days ago at the ELO conference.
Piotr Marecki also translated my short generator Lede for the issue. (Amusingly enough, the translated title is the more conventional and seemingly more properly-spelled English word “Lead.”) It has some aspects of cultural translation – absurd figures from Polish culture are substituted for some of the ones I included from my American perspective.
The only mistake I see in the Sea and Spar Between items is that it’s hard (for me, at least, not being a reader of the language) to determine who did the translation of both the poem generator and the comments: Monika Górska-Olesińska and Mariusz Pisarski, who are attributed atop the commented code but not, for instance, here on the Polish “How to Read” page. In digital literature, there generally is no system for buying rights and recruiting and paying translators for their work – just as there is no system for doing this for authors. So the least we can do is to properly credit those who work to develop new programs and cybertexts, whether they are based on earlier ones in other languages or not.
The final article I’ll note is an interview, I think one that’s very kind to me and my lab, The Trope Tank, by Piotr Marecki, who was a postdoc here this past year. Here’s what the Googly Intelligence translates this interview as.
There’s a great deal more in the issue, and I suggest those interested in digital literature, even if not literate in Polish, take at least a quick look using your favorite “translation goggles.” There are some good English-language journals on electronic literature, but I think English-speakers could learn a good deal from this effort, which publishes critical writing (including some in translation) and creative work and also undertakes extensive translation projects.
Everything you need to know to print out and bind a copy of Left Cartridge, a zine documenting the Learning Games Initiative, is online.
