Utente:Lydia Tuan/Generative Literature: differenze tra le versioni
Contenuto cancellato Contenuto aggiunto
Nessun oggetto della modifica |
|||
Riga 7:
Unlike generative art, the introduction of generative literature did not receive such 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),
=== Codework poetry ===
the idea that code can be read, analyzed, and written as literature is not unprecedented. Codework poetry, known as the construction and stylization of verse using a mixture of programming languages with natural languages to produce literature, is a literary treatment of data. Using programming languages like natural languages by giving them syntactical and semantic meanings produces a concrete poem-esque effect when juxtaposed together in the same context. Published anonymously in the networked discussion system Usenet, “Black Perl” (1990) exemplifies codework poetry. Written in the programming language Perl (short for “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. Run on a computer, the poem compiles without producing output (which means that this codework poem is not generative) but when read by humans in English, the “output” may vary:
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 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 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.
| |||