Tag: writing

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10 PRINT Reading / Release Party

10 PRINT cover

Our first event for 10 PRINT is scheduled for:

Monday
November 12, 2012
7pm

at the

Harvard Book Store
1256 Massachusetts Ave.
Cambridge, MA.

This means, of course, that the book will be printed and available for sale by then, which is less than a month from now.

The Harvard Book Store is an independent book store in Harvard Square, founded in 1932.

Of the ten authors of 10 PRINT, we’re planning to have at least me (Nick Montfort), Patsy Baudoin, and Noah Vawter there for some reading from the book, comments on the titular program and the writing of the book, and discussion. The reading is free and takes place at the bookstore itself, as the page on the event explains.

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Purple Blurb at MIT this semester!

Yes we have Purple Blurb! The first event is in less than a week – sorry for the short notice; I hope you locals can join us. Here are the details:

Monday October 1, 5:30pm in 6-120

Rafael Pérez y Pérez, Fox Harrell, and Nick Montfort

In conversation about narrative generation and MEXICA, GRIOT, and Curveship

Three creators of poetic and imaginative systems speak about computational creativity, narrative generation, and the way systems for this sort of work are culturally generated. Rafael Pérez y Pérez is creator of the plot-focused MEXICA system for the generation of stories and is Profesor/Investigador Titular C in the Departamento de Tecnologías de la Información at the Universidad Autónoma Metropolitana, Unidad Cuajimalpa, México D. F. Fox Harrell is creator of GRIOT and the Alloy algorithm, which generates literary and multimedia texts based on conceptual structures. Harrell is associate professor of digital media at MIT in CMS/WHS, a principal investigator at CSAIL, and head of the Imagination, Computation, and Expression Laboratory. Nick Montfort developed Curveship, an interactive fiction and text generation systems that allows for parametrically controlled narrative variation. Montfort is associate professor of digital media at MIT in CMS/WHS and head of the Trope Tank.

Thursday November 8, 5:30pm in 32-155

Tracy Fullerton

“Finer Fruits: Experiment in Life and Play at Walden”

A joint event with the CMS Colloquium

Walden, a game, is an experiment in play being made about an experiment in living. The game simulates Henry David Thoreau’s experiment in living a simplified existence as articulated in his book Walden. It puts Thoreau’s ideas about the essentials of life into a playable form, in which players can take on the role of Thoreau, attending to the “meaner” tasks of life at the Pond – providing themselves with food, fuel, shelter and clothing – while trying not to lose sight of their relationship to nature, where the Thoreau found the true rewards of his experiment, his “finer fruits” of life. The game is a work in progress, and this talk will look closely at the design of the underlying system and the cycles of thought that have gone into developing it. It will also detail the creation of the game world, which is based on close readings of Thoreau’s work, and the projected path forward for the team as we continue our sojourn in experimental in play.

Tracy Fullerton, M.F.A., is an experimental game designer, professor and director of the Game Innovation Lab at the USC School of Cinematic Arts where she holds the Electronic Arts Endowed Chair in Interactive Entertainment. The Game Innovation Lab is a design research center that has produced several influential independent games, including Cloud, flOw, Darfur is Dying, The Misadventures of P.B. Winterbottom, and The Night Journey – a collaboration with media artist Bill Viola. Tracy is also the author of Game Design Workshop: A Playcentric Approach to Creating Innovative Games, a design textbook in use at game programs worldwide.

As always, all events are free and open to the public. The Purple Blurb series is supported by the Angus N. MacDonald fund and Comparative Media Studies / Writing and Humanistic Studies.

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Games by the Book, an Exhibit

Games by the Book
Videogame Adaptations of Literary Works in the Hayden Library

The Hayden Library (in MIT’s Building 14) is hosting an interactive exhibition starting on September 7th. Visitors to the second floor will be able to play four videogames that are adapted from literary works, from Sophocles and Shakespeare to F. Scott Fitzgerald and Douglas Adams. The exhibit explores the range of approaches taken to create video games of literary works, The result is often whimsical, turning the worlds of these stories into spaces to be explored, often transforming them according video game conventions.

The games featured in the exhibit invite players to become Nick Carraway, the narrator of The Great Gatsby, dodging drunken partygoers in his way to meet Gatsby; explore the world of Shakespeare’s plays; carry out an exercise of introspection based on Sophocles’ Oedipus at Colonus; or revisit the events of The Hitchhiker’s Guide to the Galaxy.

Games by the Book, curated by Clara Fernández-Vara and Nick Montfort, will be open to the public until October 8th, in the Humanities library, on the 2nd floor of the Hayden Library. Further details can be found at:

http://trope-tank.mit.edu/games_by_the_book/

The exhibit is sponsored by the De Florez Fund for Humor, the MIT Council of the Arts, the MIT Game Lab, the Electronic Literature Organization, and Comparative Media Studies.

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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.

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Civic Media from 2006

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
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A Thousand Twitters

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.

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Islands of (Text) Adventure

In the “Michelangelo” room of the Portofino Bay hotel, at Ascendio (the latest and last in a long series of Harry Potter fan conferences), just down the lagoon from The Islands of Adventure and the Harry Potter area of that theme park, Flourish Klink presented her interactive fiction, “Muggle Studies.”

(In Michelangelo the women come and go, talking of rooms…)

We had a reading/playing of the game, to start, in the People’s Republic of Interactive Fiction public reading style. It worked well; another option would have been to “demo” the game using the successful format we tried out at the New School, Penn, and some Purple Blurb IF readings. The audience was game to try commands, though, and a volunteer read the game’s text aloud.

Then, Flourish provided some context, describing a bit about IF and Inform 7.

Given the vigorousness of fandom and the way interactive fiction production continues apace, it’s particularly good to see a demonstration of and call for more crossover work.

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Ubu Runs Ubuntu!

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.)

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Language and Code at the Gate

What are we waiting for, assembled in the forum?

A technical report is to arrive today.

No need to worry about what will become of you without a technical report! The report, the fourth “Trope Report” in the Trope Tank series that started this year, is here:

In “Carrying across Language and Code,” Natalia and I discuss issues of translation and computational writing. With reference to electronic literature translation projects in which we have been involved as translators or as authors of the source work, we argue that the process of translation can expose how language and computation interrelate in electronic literature. Various small poetry generators, a cybertext poem, and two works of interactive fiction are discussed in this report.

Share and enjoy…

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“Taroko Gorge”: The Vandalism Continues!

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.

Sepand Ansari created a Beckett-based “Taroko Gorge” remix at the ELO conference. And now I have the URL for this piece, “Waiting for Taroko Gorge.”

Kathi Inman Berens has created “Tournedo Gorge” “to mash the space of computation with the female, domestic, and tactile,” as she discusses in her blog post.

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“Taroko Gorge” at the WVU ELO Conference

_This was my statement for the “Taroko Gorge Remixed” panel yesterday (June 21) at the 2012 ELO conference. The panel was organized by Mark Sample and also featured Scott Rettberg, J. R. Carpenter (who joined us by video chat), Talan Memmott, Eric Snograss, Flourish Klink, and Andrew Plotkin. In attendance and part of the discussion were Leonardo Flores and Sonny Rae Tempest, who did work based on the Taroko Gorge code after the panel was proposed._

It is curious that I was invited to be part of this panel today, for I am the only speaker in this session who has not created and released a remix of Nick Montfort’s “Taroko Gorge.”

Today, however, to remedy this mismatch, to bridge this gap, to traverse this gorge, I am releasing a remix of my poetry generator, “Taroko Gorge.” This new work that I have completed and placed online today is also called “Taroko Gorge.” This remix was created to be an elegant poetry generator, producing a boundless nature poem and inspired by the experience of walking through Taroko Gorge National Park in Taiwan. The code of the program is the same as that of the original, and the text used as strings in the generator is also the same as that of the original. No comments have been added.

So, how can one distinguish this new “Taroko Gorge” from the original poetry generator of the same name? For one thing, I have placed today’s date on the right side of the page, to indicate that _this_ is the remix that was completed today. When citing this work, you must also include the date that you accessed this page to comply with MLA, Chicago Manual of Style, and other bibliographic standards. If you leave the “Taroko Gorge” page open long enough, staring at it with meditative bliss, rapt attention, or monomaniacal trembling, you should include a date range rather than a single date in your bibliographic entry.

But enough of the temporal dimension. In addition to including a date, the new version of “Taroko Gorge” includes the names of all known vandals, those who have replaced my own lyrical words and phrases with ones associated with various other individual visions, ranging from the idiosyncratic to the downright perverse. These appear on the right-hand side – stricken out. Since it is not proper to condemn people without evidence – unless we put them aboard a plane and take them to another country – I have also included links to the offending Web pages.

This remix of “Taroko Gorge” asserts something very simple: that the rebirth of the author comes at the expense of the death of other authors. Something simple, about originality, voice, and purity of essence, which has been said in so many ways: Remix = death. Take back the gorge. Don’t tread on me. There’s a bear in the woods. Make it old. I did it my way. Under the page, the code.

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Computational Creativity: MIT at ICCC

Many exciting things here at ICCC-12 (the International Conference on Computational Creativity 2012) in Dublin, but here are those that come from MIT, Writing and Humanistic Studies, and Comparative Media Studies:

I represented my lab, The Trope Tank, by presenting by the position paper “Small-Scale Systems and Computational Creativity” by Nick Montfort and Natalia Fedorova. The Trope Tank has a longer technical report that deals with this topic, written for a more general audience: “TROPE-12-02 – XS, S, M, XL: Creative Text Generators of Different Scales” by Nick Montfort.

One of the demos here, “Exploring Everyday Creative Responses to Social Discrimination with the Mimesis System,” by D. Fox Harrell, Chong-U Lim, Sonny Sidhu, Jia Zhang, Ayse Gursoy and Christine Yu, is the work of Harrell’s ICE (Imagination, Computation, and Expression) Lab at MIT. Harrell presented this demo yesterday, showing the current state of the iPhone game Mimesis, developed as part of the Advanced Identity Representation project.

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Christian Bök in Purple Blurb *Thursday* 6pm

Update: Thanks to Francisco Ricardo, a video of some of Christian’s Purple Blurb reading is now online.

The Spring 2012 Purple Blurb series comes to an end this week, not with a whimper, but with Christian Bök!

Thursday May 3
6-120
6pm

Christian Bök is the author of Crystallography (Coach House Press, 1994),
 a pataphysical encyclopedia nominated for the Gerald Lampert Memorial
 Award, and of Eunoia (Coach House Books, 2001), a bestselling work of
 experimental literature, which has gone on to win the Griffin Prize for
 Poetic Excellence. Bök has created artificial languages for two
 television shows: Gene Roddenberry’s Earth: Final Conflict and Peter
 Benchley’s Amazon. Bök has also earned many accolades for his virtuoso
 performances of sound poetry (particularly the Ursonate by Kurt
 Schwitters). His conceptual artworks (which include books built out of
 Rubik’s cubes and Lego bricks) have appeared at the Marianne Boesky
 Gallery in New York City as part of the exhibit Poetry Plastique. Bök is
 currently a Professor of English at the University of Calgary.

If you’re in the Boston area, and interested in radical play with language (why else would you have found this blog?) please come by.

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“Creative Material Computing in a Laboratory Context”

The Trope Tank has just issued a new technical report:

Creative Material Computing in a Laboratory Context
Nick Montfort and Natalia Fedorova
TROPE-12-03

Download the full report

Abstract
Principles for organizing a laboratory with material computing resources are articulated. This laboratory, the Trope Tank, is a facility for teaching, research, and creative collaboration and offers hardware (in working condition and set up for use) from the 1970s, 1980s, and 1990s, including videogame systems, home computers, an arcade cabinet, and a workstation. Other resources include controllers, peripherals, manuals, books, and software on physical media. In reorganizing the space, we considered its primary purpose as a laboratory (rather than as a library or studio), organized materials by platform and intended use, and provided additional cues and textual information about the historical contexts of the available systems.

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Borsuk, Bök, Montfort – May 5, 7pm, Lorem Ipsum

I’m reading soon with our Canadian guest Christian Bök and with my MIT colleague Amaranth Borsuk, who will present _Between Page and Screen_ (published by Siglio Press this year). The gig is at:

Lorem Ipsum Books
1299 Cambridge Street
Inman Square
Cambridge, MA
Ph: 617-497-7669

May 7, 2012 at 7pm

Amaranth Borsuk is the author of _Handiwork_ (2012), the chapbook _Tonal Saw_ (2010), and a collaborative work _Excess Exhibit_ to be released as both a limited-edition book and iPad application in 2012. Her poems, essays, and translations have been published widely in journals such as the _New American Writing, Los Angeles Review, Denver Quarterly, FIELD, and Columbia Poetry Review._ She has a Ph.D. in Literature and Creative Writing from USC and is currently a Mellon Postdoctoral Fellow in Comparative Media Studies, Writing and Humanistic Studies at MIT where she works on and teaches digital poetry, visual poetry, and creative writing workshops.

Christian Bök is the author of _Crystallography_ (2003), a pataphysical encyclopedia, and of _Eunoia_ (2009), a bestselling work of experimental literature. Bök has created artificial languages for two television shows: Gene Roddenberry’s _Earth: Final Conflict_ and Peter Benchley’s _Amazon._ Bök has also earned accolades for his virtuoso performances of sound poetry (particularly _Die Ursonate_ by Kurt Schwitters). Currently, he is conducting a conceptual experiment called _The Xenotext_ (which involves genetically engineering a bacterium so that it might become not only an archive for storing a poem in its genome for eternity, but also a machine for writing a poem as a protein in response). He teaches English at the University of Calgary.

Nick Montfort writes computational and constrained poetry, develops computer games, and is a critic, theorist, and scholar of computational art and media. He teaches at MIT and is currently serving as president of the Electronic Literature Organization. His digital media writing projects include the interactive fiction system Curveship; the group blog _Grand Text Auto;_ _Ream,_ a 500-page poem written on one day; _2002: A Palindrome Story,_ the longest literary palindrome (according the Oulipo), written with William Gillespie; _Implementation,_ a novel on stickers written with Scott Rettberg; and several works of interactive fiction: _Winchester’s Nightmare, Ad Verbum,_ and _Book and Volume._ His latest book, _Riddle & Bind_ (2010), contains literary riddles and constrained poems.