Utente:Lydia Tuan/Generative Literature: differenze tra le versioni

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'''Generative literature''' refers to [[Letteratura|literature]] that is completely or partially generated by an [[Autonomous System|autonomous system]], a [[:en:Non-human|non-human]] entity such as a [[Computer Programming|computer program]], that is algorithmically producesinstructed generatedto literaryproduce generated texts — which subsequently may be read as literature — independently from a human [[Autore|author]].<ref Closelyname=":6">{{Cita conferenza|titolo=What is Generative Art? Complexity Theory as a Context for Art Theory|conferenza=6th Generative Art Conference|autore=Philip Galanter|data=January 2003|url=www.philipgalanter.com/downloads/ga2003_paper.pdf|lingua=en}}</ref><ref name=":7">{{Cita libro|autore=Philip Galanter|curatore=Christiane Paul|titolo=Generative Art Theory|url=http://cmuems.com/2016/60212/resources/galanter_generative.pdf|edizione=1|anno=2016|editore=John Wiley & Sons, Inc|città=New York|lingua=en|p=146}}</ref> Very closely related to the field of [[generative art]], generative literature is its subset, as both forms rely on an autonomous system, recognized as a [[:en:Non-human|non-human]] entity that produces the literary text independently from a human author, for its literaryartistic production.

== History ==

A definition and history of generative art is often the preferred reference for describing the origins of generative literature.<ref>{{Cita web|url=http://hybridpedagogy.org/what-is-generative-literature-introducing-the-generative-literature-project/|titolo=What is Generative Literature? Introducing “The Generative Literature Project”|autore=Mia Zamora and Matt Jacobi|data=2015-07-19|lingua=en|urlarchivio=https://web.archive.org/save/http://hybridpedagogy.org/what-is-generative-literature-introducing-the-generative-literature-project/|dataarchivio=2019-06-06|urlmorto=no}}</ref> According to generative [[Artista|artist]] and [[Critica artistica|critic]] [[Philip Galanter]], generative art's increasinggained popularity in the late [[XX secolo|twentieth century]], as a wasresult dueof, in part, to the computational possibilities offered via computers, which gave generative art a new platform.<ref name=":6" /><ref name=":7" /> [[Storia dell'arte|Art historian]] [[Grant D. Taylor]] notes that [[computer art]]’s introduction in [[1963]] sparked outrage, mostly from non-computer artists who feared that the longevity of [[Poesia|written poem]], being “communication from a particular human being” and “one last refuge for human beings” would be at risk in the computer age.<ref name=":0">{{Cita libro|autore=Grant D. Taylor|curatore=Francisco J. Ricardo|titolo=When the Machine Made Art: The Troubled History of Computer Art|collana=International Texts in Critical Media Aesthetics|anno=2014|editore=Bloomsbury|città=New York|lingua=en|pp=5-6|volume=8}}</ref>

[[Arte digitale|Computer art]] was often seen as “another example of the vulgarization of science, where besotted artists, dallying with the latest scientific and technological media, produced what was tantamount to science as [[kitsch]],” paralleling the fascination of computer art with [[Modernismo|modernist]] responses to the development of [[Scienza fondamentale|pure sciences]] in the [[Novecento (disambigua)|early twentieth century.]]<ref name=":0" /> Prior to the mainstream acceptance of computer poetry as art in 1990s, people had hoped that machines would fail, having coveted art as a “refuge from the onslaughts of our whole machine civilization.”<ref name=":0" /> The stigma attached to computer art was voiced by artists such as [[Paul Brown]], who lambasted the use of computers in art as the “kiss of death”<ref name=":0" /> to describe computer artists who were rejected from galleries once it was revealed to curators and directors that computers played a role in their work’s creation.

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The literary status of algorithmic outputs has been an ongoing contention even amongst [[new media]] artists and critics; [[Tecnologia dell'informazione|digital technology]] theorist [[Yuk Hui]] called algorithmic outputs “algorithmic catastrophes” rather than anything worth studying at all, defining outputs, or “the product of automated algorithms,” as “the failure of reason,” not even “material failure.”<ref>{{Cita pubblicazione|autore=Yuk Hui|anno=2015|titolo=Algorithmic Catastrophe—The Revenge of Contingency|rivista=Parrhesia|volume=23|numero=|p=123|lingua=en|url=http://whatishappeningtoourbrain.rietveldacademie.nl/pages/brain/parrhesia.pdf}}</ref> Portuguese [[Letteratura sperimentale|experimental poet]] [[Rui Torres]], whose corpus of creative works includes presenting poetry in hypermedia contexts, asserted, while fielding questions after a talk delivered at the [[Università della California, Berkeley|University of California, Berkeley]] in April 2016,<ref>{{Cita video|autore=Rui Torres|titolo=Rui Torres – Unlocking the Secret Garden: Electronic Literature from Portugal|url=https://www.youtube.com/watch?v=xKSo0iqdvPk|accesso=2019-05-24|data=2016-05-04|editore=Institute of European Studies, UC Berkeley|lingua=en}}</ref> that algorithmic outputs can never transpierce the literary realm, thus barring algorithmic outputs as literature and siding with Hui’s idea that algorithmic behaviors suggest a “failure of reason.”

According to generative artist and critic [[Philip Galanter|Galanter]], the oft-discussed question “[[Arte|What is art?]]” in [[Storia dell'arte|art history]] does not go unnoticed when conceptualizing a generative art theory. Generative art, Galanter notes, however, additionally faces the question frequently encountered within [[Artificial Intelligence|artificial intelligence]]: “Can it be claimed that a computer can and will express itself? Alternatively, when the computer determines forms not anticipated by the artist, does its creation still qualify as the artist’s expression?”<ref name=":3" />

== See also ==