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== History ==

Generative art's increasing popularity in the late [[XX secolo|twentieth century]] was due, in part, to the computational possibilities offered via computers, which gave generative art a new platform. Art historian [[Grant D. Taylor]] notes that [[computer art]]’s introduction in [[1963]] sparked outrage, mostly from non-computer artists who feared that the written poem, representing “communication from a particular human being” and “one last refuge for human beings” would no longer serve that function 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.

=== Jean-Pierre Balpe and surrealism ===

[[File:Jean-Pierre Balpe.jpg|miniatura|Jean-Pierre Balpe in 2000.]]

Unlike [[Arte generativa|generative art]], the introduction of generative literature did not receive suchthe same negativity. One of the first, most prominent uses of generative literature as a term can be traced to [[Francia|French]] generative writer and theorist [[Jean-Pierre Balpe]], who in the mid-1970s, was inspired by [[Surrealismo|surrealism]], which fueled his exploration of automatic text generation’s artistic potential.  Balpe defines generative literature as “the production of texts that continually change since they are based on a specific dictionary, on a set of rules and the use of algorithms”<ref>{{Cita libro|curatore=Peter Gendola and Jörgen Schäfer|titolo=The Aesthetics of Net Literature: Writing, Reading

and Playing in the Programmable Media|anno=2007|editore=Transcript Verlag|città=Bielefeld|lingua=en|p=13}}</ref> and that understanding the complexities of generative literature requires awareness of its “''niveaux d’engrammation''” or different "levels of engrammation" that specify modes of communication between humans and machines behind the generativity.<ref>{{Cita libro|curatore=Peter Gendolla and Jörgen Schäfer|titolo=The Aesthetics of Net Literature: Writing, Reading

and Playing in the Programmable Media|anno=2007|città=Bielefeld|lingua=en|p=25}}</ref> Balpe believes that all literature, to an extent, is generative.<ref>{{Cita testo|lingua=fr|autore=Jean-Pierre Balpe|titolo=Fiction et écriture générative|editore=|città=|data=|url=http://chatonsky.net/files/pdf/jean-pierre-balpe/jpb_fiction.pdf}}</ref>

Balpe spent the early 2000s working on several computer-generated novels online, including ''[[Fictions]]'' and ''[[Trajectoires]]'' (2001), including creating the poetry machine ''[[Babel Poésie]]'' (2004), which produced poems by generating [[Lingua francese|French]], [[Lingua italiana|Italian]], and [[Lingua spagnola|Spanish]] words. 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.”<ref>{{Cita web|url=http://www.p0es1s.net/en/projects/jean_pierre_balpe.html|titolo=P0es1s.digitale Poesie|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.”<ref name=":5">{{Cita web|url=http://www.dichtung-digital.de/2005/1/Balpe/|titolo=Jean-Pierre Balpe: Principles and Processes of Generative Literature|autore=Jean-Pierre Balpe|lingua=en|urlarchivio=https://web.archive.org/web/20190524104407/http://www.dichtung-digital.de/2005/1/Balpe/|anno=2005}}</ref> InReaders other words,of readersgenerative willliterature neither see the same texts presented to them a second time nor read the same the text as another reader.<ref name=":5" />

=== Codework poetry ===

The idea that code can be read, analyzed, and written as literature is not unprecedented. : [[Codeworkcodework poetry]], known asis the construction and stylization of verse using a mixture of [[Linguaggio di programmazione|programming languages]] with [[Lingua naturale|natural languages]] to produce literature, is a literary treatment of data. Using programming languages like natural languages by giving them [[Sintassi|syntactical]] and [[Semantica|semantic]] meanings produces a [[Poesia concreta|concrete poem]]-esque effect when juxtaposed together in the same context. Published anonymously in the [[Forum (Internet)|networked discussion system]] [[Usenet]], “[[Black Perl]]” (1990) serves as an example of a codework poem. Written in the programming language [[Perl]] (“Practical Extraction and Report Language”) as an example of [[Perl Poetry]], “Black Perl” was intentionally written in valid Perl commands so that it could be understood by computer and human reading. The step-by-step commands listed in each line of the program transform into a narrated event when read line-by-line as a poem. The code’s form, such as the inclusion the asterisks and parentheses, influences the readability of the code as a poem, as various punctuation marks serve different semantic purposes when read in Perl than in [[Lingua inglese|English]], for example. However, “Black Perl” was intentionally written as a poem, meaning that this particular codework poem has more in common with practices of [[:en:Constrained_writing|constraint writing]] than generative literature. In fact, “Black Perl” is not generative for the reason that it is not program-generated output but, is, instead, the program itself. The usefulness of this poem, however, is to demonstrate the duality of human and computer readability in “Black Perl” and how programming languages are not completely devoid of literary value.  

== Examples of generative literature ==