constraint

2024-05-012024-05-05

Gram’s Fairy Tales: Manual & Grimoire

Taper, an online literary magazine published twice yearly, is now in its 12th issue. An independent editorial collective (Kyle Booten, Angela Chang, Kavi Duvvoori, Leonardo Flores, Helen Shewolfe Tseng, and Andy Wallace, for this issue) makes all the decisions about selections, themes for forthcoming issues, and so on, and also handles all communication with authors. They do all the work! Editors are allowed to submit works, in which case they recuse themselves from the collective’s discussion. I’m proud to be publisher of this magazine — although it’s really the editorial collective that makes it happen.

My “Gram’s Fairy Tales” was selected for this issue, with “Tools” as its theme!

For those who haven’t visited Taper, when you do, you’ll find that the poems are computational and are no more than 2KB (2048 bytes) in size. (Issue #1 hosted 1KB poems and issue #3 had ones that were 3KB, but Goldilocks found the ideal constraint in 2KB.) Issue #12 features a lot of general-purpose programs that are true tools, textual or otherwise, as well as dynamic text generators that speak to the theme. In fact, the issue is our largest yet, with 32 selections.

To read what the author/programmers say about their work, in their statements, you generally have to “View Page Source” (or choose the similar option in your browser) and look at a comment at the top of each page, which is licensed as free (libre) software so you can make use of it in any way you like. However, given the theme of this issue, I wrote “Gram’s Fairy Tales” to not only give access to the underlying HTML5, but also to let people write grammars that can be placed in a text area and used to generate stories. Given this, I’m going to pull a bit from my “author statement,” found in complete form in the comments, and post it here. I’ll also provide three novel story grammars written by others: Jhave Jhonston (author of ReRites), Kyle Booten (author of Salon des Fantômes), and Kavi Duvvoori (author of Common Is That They).

Inspirations, Instructions – Jhave’s – Kyle’s – Kavi’s

Two Inspiring Systems, and Instructions

As I developed “Gram’s Fairy Tales,” I was thinking about two remarkable story generation systems, very different ones, both quite simple.

One is the mid-1980s Story Machine, which I’ve known about for a while in its Commodore 64 incarnation. It is a strangely animistic system in which any entity can perform any transitive or intransitive action. While there are multimedia elements and some notion of state, it essentially develops narratives one independent sentence at a time.

The other is a system by Joseph Grimes, operational in Mexico City in 1963. Only one text from this story generator is documented. It seems to have produced stories based on a story grammar, with formalist structures. So, a hero would be challenged in some way and overcome the challenge. The one-page magazine article about the system suggested that it could be called “Grimes’s Fairy Tales.”

“Gram’s Fairy Tales” uses a simple grammar to generate stories. There are special “hero” and “villain” tokens, which always refer to the same two entities, selected from the “entity” rule. You don’t have a pool of good guys and bad guys; any entities are equally likely to be heroes and villains.

Beyond those special tokens, the other nonterminal tokens (the lowercase ones) expand according to rules, with each represented as one line in the text field.

The “|” indicates alternatives; these are split apart first.

The “+” indicates a conjunction of elements; all of those will appear.

Tokens keep getting expanded until eventually there is a run of text which in my example grammars are in all caps. These are “terminals,” and ends up being presented as is, without any further transformation.

Your grammar needs to begin with a “story” rule, and it should have “adj” and “entity” rules so a hero and villain can be determined. Anything else is up to you. Indeed, you don’t actually have to refer to a hero or villain.

My terminals are in all caps (making for an all-caps story) simply because it’s tricky to get the capitalization of sentences right. It would make things harder for those who want to edit the grammar and create their own stories, and the grammar is already a bit tricky.

Spaces have to be included properly at the beginning and ending of terminals, for instance, except for the terminals that come at the very end of stories.

Also, if you have entities or adjectives that begin with a vowel sound, you’ll end up with grammatical mistakes. The solution in this simple tool (or toy) — simply use adjectives and entities that all begin with consonant sounds!

To get an idea of how to write your own grammar, you may want to start with an extremely simple one, such as:

story>hero+ FOUGHT +villain+.|hero+ TOOK A NAP.
adj>CLEVER|STRONG
entity>FOX|CHICKEN

Jhave’s Grammar: A Harmonious Moment

Here’s a striking project by Jhave Johnston, who is my colleague at the University of Bergen Center for Digital Narrative and winner of the Robert Coover Award. You’ll notice that Jhave wrote his grammar to enable proper capitalization, despite the difficulty of that. Although the right side of the text is hidden, you can select it all and paste it into “Gram’s Fairy Tales” to see how it works.

story>intro+conclusion
intro>In the heart of +emotion+, +entities+ +verb+ in +concept+|Abiding as  +emotion+, +entities+ +verb+ in +concept+|Before +emotion+, +entities+ +verb+ in +concept+|Imperturbable in +emotion+, +entities+ +verb+ in +concept+|Serendipitous as +emotion+, +entities+ +verb+ in +concept+|Surrounded by  +emotion+, +entities+ +verb+ in +concept+|Amidst +emotion+, +entities+ +verb+ in +concept+|Beyond +emotion+, +entities+ +verb+ in +concept+
emotion>serenity|peace|tranquility|joyousness|tenderness|compassion|love|radiance|integrity
entities>entities_nature+ and +entities_tech
entities_nature>brooks|forest|cascade|swamp|torrent|ravines|refugees|stars|orchards|plateaus|tendrils|alleyways|groves|mountains|rivers|fields|meadows|ridges|oceans|orchards|moons|blossoms|nebulae|subduction trenches
entities_tech>LEDs|torrents|media|villains|dollar-stores|ditches|pop-ups|server-farms|antennae|antagonists|satellites|philosophies|trinkets|video-walls|entrails|exiles|synapses|heroes|plastics
verb>merged|thrived|replenished|enjoyed|trembled|reveried|prospered
concept>precon+conce
precon>harmony, |wisdom's light, |exuberance, |cohesion, |unity, |solidarity, |changelessness, |insight, 
conce>seeking mutual actualization|observing mutual transcendence|flourishing with supple realization|witnessing collective discovery|imploding within perfect revelation|imploding within effortless actualization|observing ripe achievement|listening to shared success
conclusion>.

A custom grammar generates “Surrounded by peace, blossoms and antennae merged in solidarity, listening to shared success.”

Kyle Booten’s Grammar: How to Compose an Ode

Kyle is a longtime member of the Taper editorial collective — since issue #5 in fall 2020! — and has long been working to have computer text generation provoke his own (and others’) writing. His grammar produces instructions for writing odes of different sorts, and is the most elaborate by far, clocking in at 70 lines, with several that are essentially comments or blank. Again, you can select all of these and paste them into “Gram’s” without trouble, although some of the text on the right side is obscured.

Pindar Horace Hordar 
(An Ode-Gym)
Kyle Booten


story>HOW TO WRITE AN ODE: +ode_type
ode_type>pindaric|pindaric|pindaric|pindaric|horatian|horatian|horatian|horatian|blended



PINDARIC

pindaric> (TURN) +strophe+ (COUNTERTURN) +antistrophe+ (STAND) +epode
strophe>IN A STANZA OF +p_lines+ +short_or_long+ +meter1+ LINES, ADOPTING A +style1+ TENOR, DESCRIBE +hero+, WITH PARTICULAR ATTENTION TO THE +p_feature+ OF +hero+.
meter1>DACTYLLIC|DACTYLLIC|DACTYLLIC|QUASI-AEOLIC|LOGAOEDIC
meter2>meter_adjust+ +meter1|TROCHAIC|IAMBIC
meter_adjust>NOT|ANYTHING BUT|ONLY IMPERFECTLY
p_lines>6|8|8|10|12
short_or_long>BRIEF|BRIEF|BRIEF|LENGTHY|LENGTHY|LENGTHY|ABSURDLY LONG
p_feature>LAUREL|ORDER|VIRTUE|LAW|DECREE|STRENGTH|CRIME|FATE
style1>SOLEMN|MYSTICAL|GNOMIC|JAGGED|SUBLIME|MORALISTIC|GOVERNMENTAL|MUSCULAR|LAUDATORY|REVERENT|JUBILANT
antistrophe>USING THE SAME STANZAIC STRUCTURE BUT NOW +style_or_mentioning+, CONTRAPOSE +hero+ WITH ITS INVERSE AND ENEMY, +villain+.
style_or_mentioning>style2|MENTIONING +p_trait
style2>ZANY|PIXELATED|EUPHORIC|REVERENT|BLOODTHIRSTY|STERN|RECURSIVE|VITUPERATIVE|BRUTALIST|PARANOID|ANGUISHED
p_trait>THE STATE|A GOD|A WAR|A SPORT|A MORAL|A VIRTUE|A CONQUEST|A VICTORY|A NATURAL DISASTER
epode>NOW, WITH +subtract+ FEWER LINES, AND THESE +ep_style+, IMAGINE HOW +hero+ SHALL +do_to_villain+ +villain+.
ep_style>meter2|style1|style2|short_or_long|short_or_long+ AND +meter2|style1+ AND +style2|style2+ AND +meter2
subtract>2|2|2|3|3|3|4|4|5
do_to_villain>OVERCOME|OVERCOME|OVERCOME|REFORM|BANISH|DEMOTE|CENSURE|STEAL FROM|WED|WOUND|BECOME


HORATIAN

horatian>IN +stanzas+ STANZAS, EACH OF 4 LINES, DESCRIBE +hero+, +gradient+.|IN +stanzas+ STANZAS, EACH OF 4 LINES, DESCRIBE +hero+, +gradient+. +extra+.
gradient>PROGRESSING GENTLY FROM+ +concept_statement|PROGRESSING GENTLY FROM+ +concept_statement+ AND SIMULTANEOUSLY FROM +concept_statement2
concept_statement>concept+ TO +concept2
concept>THE +cognizing+ OF THE +abstraction+ OF +object|THE +cognizing2+ OF THE +abstraction2+ OF +object
concept2>THE +cognizing2+ OF THE +abstraction+ OF +object|THE +cognizing+ OF THE +abstraction2+ OF +object2
concept_statement2>GREEN TO BLUE|BLUE TO GREEN|WEALTH TO POVERTY|MORNING TO NIGHT|RAIN TO SLEEP|YOUTH TO OLD AGE|FALL TO SPRING|WINTER TO SUMMER
abstraction>PAIN|SADNESS|LOSS|HUMOR|FRAILTY|YEARNING
abstraction2>LOSS|GROWTH|MERCY|HISTORY|TIMELESSNESS|MORTALITY
cognizing>AWARENESS|FORGIVENESS|HATRED|NON-AWARENESS|APPRECIATION|MISUNDERSTANDING|SYMPATHY
cognizing2>ACCEPTANCE|PERCEPTION|REGRETTING|UNDERSTANDING
object>hero|hero|hero|hero|LIFE IN GENERAL
object2>hero|hero|hero|hero|villain|LIFE IN GENERAL
stanzas>3|4|4|6|6|8|10
extra>REMARK IN THE +count_line+ LINE UPON +extra_object|prosody
extra_object>THE +h_feature+ OF +hero|WINE|WINE|WINE|A MORSEL|A MORSEL|A FRIEND
h_feature>FLAVOR|SIZE|TEXTURE|FAMILY|POSITION|TEMPERATURE|ECHO|INTERIOR|FORM|TEMPERAMENT|HONOR|HUE
count_line>1ST|rel_num|rel_num+ TO LAST
prosody>MIMIC +poet+'S METER
poet>SAPPHO|ALCAEUS
rel_num>2ND|3RD|4TH


BLENDED

blended>bl1|bl2|bl3|bl4|bl5|bl6
bl1>[STANZA 1: +pindaric_bit+] [STANZA 2: +pindaric_bit+] [STANZA 3: +horatian_bit+]
bl2>[STANZA 1: +pindaric_bit+] [STANZA 2: +horatian_bit+] [STANZA 3: +pindaric_bit+]
bl3>[STANZA 1: +horatian_bit+] [STANZA 2: +pindaric_bit+] [STANZA 3: +pindaric_bit+]
bl4>[STANZA 1: +pindaric_bit+] [STANZA 2: +horatian_bit+] [STANZA 3: +horatian_bit+]
bl5>[STANZA 1: +horatian_bit+] [STANZA 2: +horatian_bit+] [STANZA 3: +pindaric_bit+]
bl6>[STANZA 1: +horatian_bit+] [STANZA 2: +pindaric_bit+] [STANZA 3: +horatian_bit+]
pindaric_bit>meter1|meter2|short_or_long|style1|style1|style_or_mentioning|strophe|ep_style
horatian_bit>gradient|gradient|extra|extra_object|cognizing|cognizing2|concept_statement|concept|concept2|concept_statement2|prosody


adj>VINTAGE|COMMON|CIVIC|BROKEN|HONEYED|PAINTED|SACRED|HUNGRY|VERNAL|FLEETING
entity>VASE|FRIEND|DOVE|DEER|FRUIT|LAKE|HOUSE|GAME|TUNE|STORM|GLEN|KNOT|VEIL|WRIT

Kavi Duvvoori’s Most Grammatical Grammar

Kavi joined the editorial collective of Taper for this issue (#12) and has really put their shoulder to the wheel! They (like Jhave & Kyle) have been producing serious computer-generated texts and adjacent projects, of course with particular twists. Their grammar uses story elements (hero, villain) and does tell a story — but one about grammars.

story>theory+.|theory+. +coda+.
theory>A +academic+ +critiqued+ +hero+, +noting+ +villain+ IS +really+ A +metaphor+|+villain+ WAS +endorsed+ BY A +academic+ WITH +hero+ USED AS A +vessel+ TO CATCH THE +metaphor|+villain+ IS ITSELF +really+ +surface+, ESPECIALLY +hero+|+hero+ BY A +academic+ IS +villain+ THAT DESCRIBES, FINALLY, THE +metaphor+
coda>+villain+ +ofthis+ IS THE +metaphor+ PUT IN A +vessel+ BY +hero+reversal+|+villain+ +ofthis+ IS +hero+reversal+
ofthis>OF THIS STORY|IN OUR TALE|FOR OUR PURPOSES HERE
reversal> (OR DO I HAVE IT BACKWARDS?)| (WAS IT REALLY THAT +coda+?)|
response>+critiqued+ THE +problem+ IN|+endorsed+
critiqued>FOUND A GAP IN|DISPUTED|ELABORATED TO APORIA
endorsed>REINFORCED|ELABORATED ON|SHOWN TO NOT POSSESS THE ALLEGED +problem+
academic>linguist|+specialty+ +linguist+|SOCIOLOGIST OF THE +academic+
specialty>COMPUTATIONAL|CRITICAL|CREATIVE|HISTORICAL
linguist>POET|LINGUIST|PHILOLOGIST|LITERARY THEORIST
problem>LACK OF RIGOUR|IDEALISM|CONTRADICTIONS|PROBLEMS
noting>NOTING THAT|SHOWING HOW|FOR
really>REALLY|IN FACT|IN TRUTH
metaphor>image+ ON +surface|churn+ +metaphor
image>SHADOW|REFLECTION|PICTURE
vessel>NET|SIEVE|DISPLAY CASE
churn>SHIFTING|FLOWING|CHURNING
surface>A BUILDING'S WALL|A PAGE|SKIN|+churn+ +flow
flow>CURRENTS|WATER|LEAVES|WIND|MUD
adj>CHOMSKYAN|PANINIAN|MOSTLY ADELE GOLDBERG-INSPIRED|PRIMARILY IRENE HEIM-DERIVED|MONTAGUE|LAKOFFIAN|CHARLES SANDERS PIERCE-ROOTED
entity>GRAMMAR|MODEL|LOGIC|FORMALISM

“A FORMALISM IS ITSELF IN TRUTH A PAGE, ESPECIALLY A LAKOFFIAN MODEL.” Plus a grammar.

2021-08-092021-08-12

A 6 byte Commodore 64 Demo

What if I told you ... 7e 00 8d 20 d0 50 is a Commodore 64 demo

If you thought my last post about a 32 byte (plus 2 byte load address) Commodore 64 demo was esoteric, wait until you burrow into this one.

Back in March at Lovebyte I released a C64 demo that is a total of 6 bytes. I contrived this one so that the 4b of code ends up overwriting part of a zero-page routine that runs every time RETURN is pressed. The effect is a pulsing pattern on the border. (You can just as easily make the screen pulse, which I personally find less aesthetically pleasing because the pulsing in that case happens over any text that is on the screen. It’s also a bit more eye watering and more likely to trigger seizures.) While it’s a very simple effect, I don’t know of any demo at all for this platform that has this file size or any smaller one. Some extensive trickery was involved in injecting my code into existing memory contents to produce this effect.

You can download the demo, NONMONOCHROME.

For my several readers who enjoy reading 6502 assembly, here’s what I did:

; NONMONOCHROME ; 6b C64 demo (2b header + 4b) ; by nom de nom/TROPE

; RETURN to begin. ; ; This demo loops about every 1.45 seconds (on an NTSC ; machine). ; ; Holding down a key while this runs will produce an extra ; effect. ; ; RUN STOP - RESTORE will stop the program, but as soon as ; RETURN is pressed the demo will just start again. To ; restore normal function, it's necessary to power-cycle ; the C64.

.outfile "nonmonochrome"

.word $007e ; Wedge the code into CHRGET on the zero page. .org $007e ; Note that CHRGET itself begins at $0073.

sta $d020 ; Set the border color with whatever's in the ; accumulator. The value varies as the code from $73 ; through $7e runs. It oscillates between black and white ; for one phase and colorful for another phase. A detailed ; explanation of why is provided below.

.byte $50 ; This makes the next instruction bvc, clobbering ; $20. The following value in memory, $f0, had been used as ; beq. $50 $f0 = bvc $73, which (infinitely) takes us back to ; the beginning of CHRGET at $0073.

; A disassembly of CHRGET, left, and how it's been modified, ; right: ; ; .org $0073 .org $0073 ; ; chrget inc txtptr nonmono inc txtptr ; bne chrgot bne chrgot ; inc txtptr+1 inc txtptr+1 ; chrgot lda chrgot lda ; txtptr .word $0207 txtptr .word $0207 ; pointb cmp #$3a cmp #$3a ; bcs exit sta $d020 ; cmp #$20 bvc nonmono ; beq chrget ; sec ; sbc #$30 ; sec ; sbc #$d0 ; exit rts

; CHRGET keeps increasing TXTPTR until it reaches the end of ; whatever BASIC input it's reading -- whether in immediate ; mode or when reading a BASIC program. ; ; NONMONO, however, loops forever and keeps increasing TXTPTR ; until it overflows past $ffff back to $0000. ; ; Because of the LDA TXTPTR, the accumulator is being ; consecutively loaded with each of the bytes in the C64's ; 64kb of accessible RAM and ROM. Then, after the CMP ; (which does nothing but slow the demo down by two cycles ; per loop), the contents of the accumulator are stored ; so as to set the border color. ; ; A large region of the C64's memory has $0 or $1 as the ; low nibble -- at least at power on, with no BASIC program ; loaded. Thus, black or white. Then, another large region ; (including ROM and the zeropage) has more "interesting" ; contents which manifest themselves as colors.

My demo was also taken up as an object of discussion in the first 7 minutes and 30 seconds of this YouTube video, where some of this explanation is provided as the demo runs on a C64c. This a later model of the Commodore 64, not the system I used in testing it, so the pulsing effect is slightly different. Among other things, my name for the demo, NONMONOCHROME, makes less sense when it’s running on this computer!

It could be an interesting challenge for others to try writing a Commodore 64 demo of only 6 bytes total, or of fewer bytes. For reasons I’d be glad to discuss, it seems to me that injecting the code into some productive context (an existing routine such as CHRGET or elsewhere in memory) is the only workable approach.

2021-08-022021-08-02

C64 Coding Under (Many) Constraints

Screenshot from Tyger Tyger; black and white border, scattering of orange and black characters on blue

Yesterday I wrote a little demoscene production, an intro, called “Tyger Tyger.” It’s a Commodore 64 machine language program with 32 bytes of code and the requisite 2 byte header, found on all C64 PRG files. It only garnered third place out of five entries in the 256b compos at @party 2021, behind two impressive entries that were for a different platform (DOS) and went to the limit of allowable code (eight times as much).

I wrote this intro under a formal constraint (32 bytes of machine language code) and several process constraints. Specifically, I wrote it all yesterday, mostly on a Amtrak train, finishing up the sound once I got to the party itself in Somverville. I also exclusively used a hardware Commodore 64 running Turbo Macro Pro v1.2, rather than cross-assembling the code on a contemporary computer and testing it on an emulator. To be specific, I used an unofficial hardware version of the Commodore 64 called the Ultimate 64, which is a modern FPGA implementation of Commodore’s hardware—not, however, an emulator. I placed a SID chip (a 6581) in the machine, so the only analog component that would otherwise need to be emulated was an authentic original.

Writing the code exclusively on the train provided me with some additional challenges, because the power kept cutting out and my system (which has to be plugged into AC power) shut off each time.

I’d never used any version of Turbo Macro Pro before, neither the C64 assembler nor TMPx, the cross-assembler. I figured out the basics of how to use the editor and learned the syntax the assembler used. It’s quite an excellent piece of software—thanks, Style!

And tremendous thanks to Dr. Claw, who put on a safe, responsible, demoparty—masks required when not eating, full vaccination required for all. It was a tiny one, yes, but it was a party! The event continues the important social and artistic traditions of the North American demoscene.

2018-05-22

Concise Computational Literature is Now Online in Taper

I’m pleased to announce the release of the first issue of Taper, along with the call for works for issue #2.

Taper is a DIY literary magazine that hosts very short computational literary works — in the first issue, sonic, visual, animated, and generated poetry that is no more than 1KB, excluding comments and the standard header that all pages share. In the second issue, this constraint will be relaxed to 2KB.

The first issue has nine poems by six authors, which were selected by an editorial collective of four. Here is how this work looked when showcased today at our exhibit in the Trope Tank:

Weights and Measures and for the pool players at the Golden Shovel, Lillian Yvonne-Bertram — “Weights and Measures” and “for the pool players at the Golden Shovel,” Lillian Yvonne-Bertram

193 and ArcMaze, Sebastian Bartlett — “193” and “ArcMaze,” Sebastian Bartlett

Alpha Riddims, Pierre Tchetgen and Rise, Angela Chang — “Alpha Riddims,” Pierre Tchetgen and “Rise,” Angela Chang

US and Field, Nick Montfort — “US” and “Field,” Nick Montfort

God, Milton Läufer — “God,” Milton Läufer

This issue is tiny in size and contains only a small number of projects, but we think they are of very high quality and interestingly diverse. This first issue of Taper also lays the groundwork for fairly easy production of future issues.

The next issue will have two new editorial collective members, but not me, as I focus on my role as publisher of this magazine though my very small press, Bad Quarto.

2017-05-22

Sliders

Sliders front cover, with battlements

My minimal book Sliders has been published by my press, Bad Quarto. The book contains 32 poems, some of which are only one word long. In a break from tradition, they are not computer-generated.

Currently Sliders is only available for sale at the MIT Press Bookstore, 301 Massachusetts Ave, Cambridge, Mass.

Sliders back cover, with blurbs

2015-08-262015-12-14

Paging Babel

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.”

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.

2014-07-11

This Interview with Harry Mathews

…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.

2014-06-25

#! is Published

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.

2014-02-172014-10-29

xkcd’s Answer to World Clock

… is today’s comic.

And it’s true, Randall probably did not know about _World Clock_ (book, code). Maybe he didn’t even know about my inspirations, Harry Mathews’s “The Chronogram for 1998” or Stanislaw Lem’s _One Human Minute._

In that case it’s an unwitting answer.

In any case, it’s a nice one.

2013-10-232013-10-23

Only the Staring from the Twilight Saga

You can now watch a 26-minute supercut of all the instances of staring in all the Twilight movies.

I recommend it.

Yes, the framing is a bit corny, as if it were a video game or an educational video made to inform you about how much staring there was. Less could have been more.

There are earlier video art projects that do similar things, and more of them. One of my favorite precursors is the brilliant Every Shot, Every Episode by Jennifer & Kevin McCoy. Housed in a suitcase, it is an interactive installation that allows access to 10,000 clips from Starsky & Hutch which have been categorized in 300 ways — every extreme closeup, every yellow Volkswagon, every affirmative response, and so on.

In fandom there seems to be less interest in exhausting every shot of a certain type, but I think each of the individual parts of 21 Vidlets about Buffy the Vampire Slayer is a bit like this.

I liked the video because it raises questions about movies in general (is this amount of staring too much? What’s typical? Which directors have the most staring?) and about staring (how can it be different? What counts as staring?). And, of course, the movie or YouTube viewer’s activity, in the most stereotypical case, is nothing more than staring.

2013-10-042013-10-05

Ouliperrata and Palindromes

The End of Oulipo? : An Attempt to Exhaust a Movement by Lauren Elkin & Scott Esposito (2013) claims that “Georges Perec … wrote a palindrome of over 5,000 words …” (p. 15, also mentioned on p. 25). However, this is wrong, unless these authors have access to an extraordinarily surprising never-before published palindrome of Perec’s. His long palindrome does not have this many words.

In 1980, Hachette published Perec’s La Clôture et autres poèmes, which contains “Le Grand Palindrome,” written in 1969. “Le Grand Palindrome” is also online; it is posted on another page without its title but with a declaration that the palindrome is 1247 words long.

Wikipedia states that this text has 1247 words and 5566 letters, and the French entry on Perec agrees. (The number of letters was probably the source of the confusion about 5,000 words in Elkin & Esposito’s book.) Since the palindrome is online, we can do some original research to determine the word and letter count – someone must have, because the cited source does not say how many words and letters there are; the source is simply the text itself. The Web is littered with different numbers that are supposed to be the length, in words, of Perec’s palindrome. David Bellos, who quoted and translated the beginning and ending of Perec’s long palindrome in his extraordinary biography, Georges Perec: A Life in Words, described the palindrome as consisting of two halves, each of five hundred words (pp. 428-429).

Standard word-count programs come up with a larger number of words than either Bellos or Wikipedia have: The Gnu utility wc counts 1367, for example. In part, that’s because some of the punctuation is set off with spaces. But it may also have to do with a reasonable way of counting words in French being different than wc’s method.

So, leaving aside the question of words for the moment — but noting that the answer seems to be in the 1000-1400 range, and couldn’t be 5000 – let’s take a look at the number of letters. I placed the palindrome’s text (all of it, including the strange title that is a reversal of Perec’s name and the place and date of writing) in a file called perec.txt and did the following to count the letters:

% fold --width=1 perec.txt | grep -c '[[:alpha:]]'

The result is 5219. Yes, I checked to make sure that accented letters are being counted on my system. I’m not sure where the extra 5566-5219=347 letters are supposed to be. There are only eight digits, so the ‘1969’ at the end (and ‘9691’ at the beginning) couldn’t account for the larger number. And I counted 736 punctuation marks, so the puzzle isn’t solved by considering punctuation marks to be letters, since that (in addition to being incorrect) would make the palindrome too long. Unless my text is corrupt, I suppose that some of the punctuation marks were counted as letters before.

♦

You can read in Daniel Levin Becker’s 2012 book Many Subtle Channels: In Praise of Potential Literature that Perec “wrote a palindrome of more than 1,200 words, the world’s longest until a computer program eclipsed it” (p. 181). The approximate word count seems right, but what about the rest of the statement?

On January 1, 2002, the first edition of Nick Montfort & William Gillespie’s 2002: A Palindrome Story was published. This text, published in a much nicer edition later in the year and made available in several formats online, is a 2002-word palindrome that we wrote together. We had actually hoped that the suite of software we developed, Deep Speed, would generate text for us and serve as a third co-author, but unfortunately its main use ended up being to check our work. In the end, 2002 was about as much generated by computer as “Le Grand Palindrome” was generated by typewriter.

(Perhaps Becker was referring to the data-driven palindrome found by Google’s Peter Norvig? That was composed and published on February 20, 2002, weeks after 2002 was first published in celebration of the new year. Also, while I consider it a brilliant hack, and while I certainly think that computer programs can produce literary output, I’m not sure how to understand or learn from this program and this text as a literary project. In terms of pure length, it’s a long palindrome, yes, but so is this; in fact, that one is longer than any that Norvig has produced.)

Now, to reassure Oulipo fans, 2002 and “Le Grand Palindrome” are written in different languages, so it would be awkward at best to claim that we directly outdid Perec. Also, it took two of us to write our English palindrome and only one of Perec to write his palindrome in French, so Perec still holds the record per-person per-palindrome. And finally, as my parenthetical remark and link above is supposed to show, it’s just silly to compare palindromes’ length alone; it’s important to read them and see how compelling they are. Writing a palindrome of more and more words involves conducting a more lengthy and profound exploration of language. Perhaps that type of exploration means falling off a cliff – as some thought Perec did; as some surely thought that William & I did in writing the exceedingly difficult text 2002. But it’s an exploration, and for us, as for Perec, it resulted in a radical and unusual literary work.

2002 received praise from members of the Oulipo and a positive review in the Review of Contemporary Fiction. It certainly wasn’t the usual one-line palindrome fare that many are used to. Although it’s challenging, I hope that more intrepid readers will eventually engage with text. I’m disappointed that a major magazine article on palindromes and the Wikipedia page on the topic don’t mention it. I’m disappointed that scholars and literary critics (who have devoted time to other works of mine and of William’s) haven’t delved into 2002. And it doesn’t give me much hope when the well-known long palindrome of a tremendously famous and influential French writer, however well-known it is, is still widely unread. We can’t even figure out how many words and letters it has.

2013-09-252013-09-25

Place d’Italie – Pont Marie, 24 September 2013

I almost forgot to write a Metro poem
silly doofus
but studying the map, finger pointing to the moon
forking line
murmuring on rubber wheels
perhaps I should have forgotten to write a Metro poem

2013-03-062013-03-10

An Auto-Interview about All the Way for the Win

Poet Michael Leong “tagged” me, not by spray-painting me or by assigning me a folksonomical string, but by sending me the following template of interview questions. This process is part of the project “The Next Big Thing,” in which people answer robotic, monomaniacal questions about recent or forthcoming books. I was supposed to post this on Wednesday, apparently, so it’s a good thing that I can set the date arbitrarily on my blog posts.

What is the working title of the book?
All the Way for the Win.

Where did the idea come from for the book?
Decades of intense poetic engagement with the English language.

What genre does your book fall under?
In terms of literary tradition, it’s an example of the sort of constrained writing that was pioneered by the Oulipo; in terms of the retail channel, it will end up in the poetry section if anywhere.

What actors would you choose to play the part of your characters in a movie rendition?
Mos Def, Zhu Zhu, Rex Lee, Won Bin, and (although I don’t think he’s a member of the SAG) Tan Lin.

What is the one sentence synopsis of your book?
A book written using only three-letter words.

How long did it take you to write the first draft of the manuscript?
I haven’t written anything close to a complete draft. I’ve only been working on the project seriously for about four years.

Who or what inspired you to write this book?
All the Way for the Win is 0% inspiration.

What else about your book might pique the reader’s interest?
The English langauge bursts with words brought to us by commerce and colonialism, is scarred by decades of wars and invasions, and both traces and propels our thinking as a culture. It is an urgent and important project to find principled, unusual subsets of this language and to make new works out of these, revealing qualities of our language through poetic practice. Readers of this book may also considerably improve their Scrabble play.

Will your book be self-published or represented by an agency?
No.

2013-01-05

Radical Books of 2012 (5/7)

Cutting Time with a Knife
Michael Leong

Black Square Editions · 124 pages

When randomness is employed in poetics and succeeds, it is because of how it plays within regularity of different sorts. This book sutures the two very well. Concrete elemental sqaures sit at the top of each page, containing irregularly arranged phrases of regular syntax (“The [buttock] of the poet is the [geodesic dome] of [Rhodium].”) The text and sometimes symbols underneath read like a Google Books snippet view. Leong constructed this book “by etherizing T.S. Eliot’s classic essay,” “Tradition and the Individual Talent,” upon the periodic table. The cyborg text, animated with galvanic force, is made from cut-ups of this essay and the Wikipedia articles for the 118 elements. The periodic table has offered a rich lattice for poetic production, digital and otherwise; here, the unique twist was provided by the amalgamation of this tabular framework with an (ostensibly random) avant-garde writing technique, a classic essay on how individuality relates to commonality and a collaboratively-authored encyclopedia.

2012-08-07

Shuffle Literature? Read ‘Em and Weep

Among several notable new articles in ebr (electronic book review), please find “Shuffle Literature and the Hand of Fate” by Zuzana Husárová and Nick Montfort:

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.