Utente:Lydia Tuan/Generative Literature: differenze tra le versioni
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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> 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 modernist responses to the development of pure sciences in the 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
Unlike generative art, the introduction of generative literature did not receive such negativity.
and Playing in the Programmable Media| and Playing in the Programmable Media| 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 French, Italian, and 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 Tuan/Generative Literature#%20ftn4|[4]]] 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 Tuan/Generative Literature#%20ftn5|[5]]] 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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