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

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and Playing in the Programmable Media|anno=2007|città=Bielefeld|lingua=en|p=25}}</ref>

Balpe spent the early 2000s working on several computer-generated novels online, including ''Fictions'' and ''Trajectoires'' (2001), [[Utente:Lydia Tuan/Generative Literature#%20ftn3|[3]]] including creating the poetry machine ''Babel Poésie'' (2004), which produced poems by generating [[Lingua francese|French]], [[Lingua italiana|Italian]], and [[Lingua spagnola|Spanish]] words (but interestingly not German, as it was created to be exhibited as a gallery installation in a Berlin poetry festival).  Poems from ''Babel Poésie'' cannot be generated more than once, and while the content of its poems has been described as “the poetry of trash language, word garbage, chaos speak,” the poems’ forms have been praised as “a new poetry which works with boundless text flow and is conceived as an associative and endless process.”[[Utente:Lydia<ref>{{Cita Tuanweb|url=http:/Generative/www.p0es1s.net/en/projects/jean_pierre_balpe.html|titolo=P0es1s.digitale Literature#%20ftn4Poesie|[4]]] lingua=en|accesso=2016-06-12|urlarchivio=https://web.archive.org/web/20190524104047/http://www.p0es1s.net/en/projects/jean_pierre_balpe.html|dataarchivio=2019-05-24}}</ref> According to Balpe, generative texts dismantle normative reading habits of temporally situating texts in relation to texts encountered earlier on the diegetic axis because “[t]he narrative is not totally built in advance but put together from a lot of virtualities which are — or are not — actualizing themselves in the course of reading.”[[Utente:Lydia<ref>{{Cita Tuanweb|url=http://www.dichtung-digital.de/2005/1/Balpe/|titolo=Jean-Pierre Balpe: Principles and Processes of Generative Literature#%20ftn5|[5]]] autore=Jean-Pierre Balpe|lingua=en|urlarchivio=https://web.archive.org/web/20190524104407/http://www.dichtung-digital.de/2005/1/Balpe/|anno=2005}}</ref> In other words, readers will neither see the same texts presented to them a second time nor read the same the text as another reader.

[[Utente:Lydia Tuan/Generative Literature#%20ftnref1|[1]]] Gendolla and Schäfer, eds. ''The Aesthetics of Net Literature'', 13.

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[[Utente:Lydia Tuan/Generative Literature#%20ftnref3|[3]]] Links to Balpe’s generative novels were disabled at time of writing this article.

[[Utente:Lydia Tuan/Generative Literature#%20ftnref4|[4]]] “Babel Poesie.”

[[Utente:Lydia Tuan/Generative Literature#%20ftnref5|[5]]] Balpe, “Principles and Processes of Generative Literature: Questions to Literature”.

Balpe’s citation of surrealism as an influence draws comparison of how both styles involve the withdrawal of a conscious human in the writing process.  Surrealism’s contention with authorship derives from the conscious abandonment of logic and reason to allow the subconscious to potentially uncover some degree of truth when least expected.  In generative literature, the human author cedes creative control to allow the program to generate output, similar to how the surrealist willingly retreats from a state of consciousness to relegate creative control to the subconscious. The difference, however, between these two forms is that while surrealists were actively seeking to be surprised by their subconscious when they ceded conscious control, surprise has been interpreted as a source of both positive and negative fascination amongst generative art critics.

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