Sigh. Your introductory tutorial was going so well, but given the massive gender imbalance among programmers and computer scientist, I don’t think this is the best way to be inclusive…
10 PRINT CHR$(205.5+RND(1)); : GOTO 10 has been reviewed in Neural, an excellent long-running magazine, print and online that covers creative computing from digital art and music through hacktivism. The reviews in Neural (which is published in Italy, in Italian and English) are short and to the point; I’m pleased to see that they neuronally grasped the concept of 10 PRINT and appreciated the work that my collaborators and I did on it.
Here’s one of many amazing pages on, not the World Wide Web, but The Worl: http://www.poetryfoundation.org/learning/guide/236558
(You need to install and activate The Deletionist to see it correctly…)
The Internent isn’t just the Web; it’s also telnet, Gopher, email … and the Worl. Here are 500 pages of the Worl that I printed out and mailed today to Kenneth Goldsmith’s exhibit, Printing Out the Internet.
The Worl is accessible to anyone who has a recent Web browser and has installed The Deletionist.
Lori Emerson has been running an excellent facility at the University of Colorado at Boulder that is a kindred lab, and an inspiration, to my Trope Tank here at MIT.
The Colorado lab, like the Trope Tank, offers working systems from decades past to support research, teaching, and artistic/literary work. The MAL is ahead of us in several ways, for instance by providing extensive information about its holdings in the form of an inventory. They even have a NeXT cube, like we do – although I think the retail price estimate on that page is missing a digit. The Trope Tank only has such information on placards placed on the hardware itself, as discussed in our technical report on the setup of the lab, but perhaps we’ll look to better publish what we’ve gathered here in months to come. I hope the MAL’s progress continues and that I’ll get to visit before too long.
I’m pleased to announce the release of a project that I’ve been working on with Amaranth Borsuk and Jesper Juul for the past two years: The Deletionist. This is a bookmarklet (easily added to the bookmark bar in one’s browser) that automatically creates erasure poetry from any page on the World Wide Web, revealing an alterate mesh of texts called the Worl. Amaranth and I presented The Deletionist for the first time today at E-Poetry in London, at Kingston University.
Two online emulator initiatives I found out about at the Library of Congress recently, at the Preserving.exe Summit:
The Olive Executable Archive, which originated at CMU and which is not open to the public yet, provides Linux VMs running emulators via one’s browser. When I saw it demonstrated, I was told it worked only on Linux, but that the team planned to have it working on other platforms soon.
Although the &NOW AWARDS 2: The Best Innovative Writing may appear at first to be an HTML character entity reference, it’s actually a new book. Arranged back-to-back like Chow Yun-Fat and Danny Lee in The Killer, it offers copious amounts (400 pages) of recent provocative writing in various genres. It’s published by Lake Forest College Press.
I’m delighted to have my work in the good company of that by many excellent writers, including J.R. Carpenter, Craig Dworkin, and Michael Leong. My contribution to the volume is just a page each of output from the Latin and Cyrillic versions of “Letterformed Terrain,” from Concrete Perl.
I direct a lab at MIT called The Trope Tank. This is a lab for research, teaching, and creative production, located in building 14 (where the Hayden Library is also housed), in room 14N-233. Its mission is to develop new poetic practices and new understandings of digital media by focusing on the material, formal, and historical aspects of computation and language.
The Trope Tank is a physical facility with unusual material computing resources from the past few decades – as well as places for researchers to sit and work with their more modern computers. The facility and materials provide for visits from classes, discussions with visiting researchers, and support for creative and research projects. The lab space continues to house the monthly meetings of the People’s Republic of Interactive Fiction, the Boston Area’s local IF group. Trope Tank equipment has supported talks this year at the Boston Cyberarts Gallery, Microsoft Research in Redmond, UCLA, the University of Maine, and other venues.
This academic year, two Trope Tank affiliates are becoming faculty members:
– Clara Fernández-Vara, who took part in the Tools for the Telling project back in 2007-2008 and has been a visiting scholar at the Trope Tank this year, is joining the faculty of NYU’s Game Center at the end of summer as an associate arts professor.
– Amaranth Borsuk, who was guest organizer of the Purple Blurb series in 2011-2012 and is a current collaborator on _The Deletionist_, is joining the faculty of The University of Washington, Bothell as an assistant professor. She has been a senior lecturer there.
There have been two major research projects (both with artistic aspects) and one creative, poetic project this past year:
– The book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 was published last year by the MIT Press (and is also available for free download as a PDF). Various subsets of the ten authors have been doing presentations related to the book in many different contents.
– The story generation project Slant was initiated and the first paper was accepted at ICCC 2013. It will be presented there, in Sydney, next month. The project involves integrating or developing new work based on decades of research by Nick Montfort, Rafael Pérez y Pérez, and Fox Harrell; those three and Andrew Campana have collaborated to initiate the project.
– The Deletionist is a current poetic project by Amaranth Borsuk, Jesper Juul, and Nick Montfort which will premiere at E-Poetry next month at Kingston University, London.
The Trope Tank will continue to support research, creative work, and teaching this summer and beyond. This is a laboratory to allow people to work with material computing systems; while it is not an archive, museum, or library, and does not offer all that such institutions do, it does provide for hands-on access to the history of creative computing. If you are interested in using the systems and materials in the Trope Tank, please contact Nick.
What miracle is this? This giant tree.
It stands ten thousand feet high
But doesn’t reach the ground. Still it stands.
Its roots must hold the sky.
HYMEN! O hymenee!
Why do you tantalize me thus?
O why sting me for a swift moment only?
Why can you not continue? O why do you now cease?
Is it because, if you continued beyond the swift moment, you would soon certainly kill me?
[This “House of Leaves of Grass” is a 24K poetry generator that produces about 100 trillion stanzas. Vast, it contains multitudes; it is bigger on the inside than it is on the outside. By Mark Sample, based on “Sea and Spar Between.”]
Well, this time they did. And a Canadian one at that.
There’s a nice article by Illya Szilak, with a discussion/reporting by Melinda White, about the Library of Congress Electronic Literature Showcase. This ran April 3-5; I was down there to read from Ad Verbum and Taroko Gorge and to speak about electronic literature’s history with libraries on the last day of the event and exhibit. And it was an excellent exhibit.
Thanks to Dr. Clara Fernández-Vara, the Trope Tank has a new technical report, TROPE-13-01: “Electronic Literature for All: Performance in Exhibits and Public Readings.”
This report covers readings of interactive fiction done by the People’s Republic of Interactive Fiction, the Boston area IF group, and the exhibit Games by the Book, discussed previously on here. But there is much more detail in this report about how these attempts managed to share computational works (works that are both games and e-lit) with the public. If you are interested in outreach and presentations of this sort, please take a look.
Since the news has apparently reached a certain social network (of which I am not a member), I’ll mention on here that with a minimum of fuss and no prior announcement, Flourish Klink and I got married today.
A challenge that arose was writing wedding vows that captured that essential and positive semantics of the traditional statements, but which acknowledged that two people can be, in some ways, opposites, looking at things from different directions while also agreeing to live as partners and to make the same commitment to one another.
Of course, it would have been more challenging, and perhaps more amusing, if I had followed this writing constraint and also added a promise to “obey” to Flourish’s vow. Texts of this sort often are especially pleasing when they change their meaning from first half to second half. But for this particular purpose, the point is really the make the two halves equal in meaning, even if the language itself is less varied as a result.
All through good and bad times, through sickness and health, through all, yes, I will love and honor. Will I? Yes.
Yes, I will honor and love. Will I? Yes. All through health and sickness, through times bad and good, through all.
One classic downfall deserves another: Hitler reacting to the cancellation of Google Reader.