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

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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. [[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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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 [[Anni 2000|2000s]] working on several computer-generated [[Novella|novels]] online, including ''[[Fictions]]'' and ''[[Trajectoires]]'' (2001), including creating the poetry machinegenerator ''[[Babel Poésie]]'' (2004), which producedgenerated [[Poesia|poems]] byfrom generatinga [[Base di dati|database]] of [[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> Readers of generative literature 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: [[codework poetry]] is the construction and stylization of verse using a mixture of [[Linguaggio di programmazione|programming languages]] with [[Lingua naturale|natural languages]] to produce literature. 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.

== Examples of generative literature ==