Utente:Lydia Tuan/Generative Literature: differenze tra le versioni
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[[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
[[File:Jean-Pierre Balpe.jpg|miniatura|Jean-Pierre Balpe in 2000.]]
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
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