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

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More recent examples of generative literature include [[Nick Montfort]]’s book entitled ''#!'' (2014) but pronounced ‘[[Shabang|sha-bang]]’ (which means “the set of all circumstances.”)<ref>{{Cita video|autore=Nick Montfort|titolo=Nick Montfort: "#!" {{!}} Talks At Google|url=https://www.youtube.com/watch?v=L19iQjE71Ws|accesso=2016-06-03|data=2014-12-11|editore=Talks at Google|lingua=en}}</ref><ref>{{Cita web|url=http://counterpathpress.org/nick-montfort|titolo=#!Nick Montfort – Counterpath|lingua=en-US|accesso=2019-06-03}}</ref><ref>{{Cita libro|autore=Nick Montfort|titolo=#!|anno=2014|editore=Counterpath Press|lingua=en|ISBN=978-1-933996-46-2}}</ref> Published thirty years after Racter and Kurzweil’s Cybernetic Poet, ''#!'' contains generated poems and their [[Algoritmo|algorithms]]. The book is divided into sections that introduce the algorithm, then display its output on the following pages. Some of the outputs end with ellipses to signify that they could not be printed due to their infinite length. ''#!''<nowiki/>'s title is also a valid [[Python]] command: the placement of a [[hashtag]] before any given text commands the computer not to read any text following the hashtag. 

In a review of ''#!'', [[Critica letteraria|literary critic]] [[John Cayley]] writes that the programs are meant to read by the program producing the output, but the inclusion of both program and output in ''#!'' makes the code “a (constitutive) facet of the poem. It is (also) the text.”<ref>{{Cita web|url=https://electronicbookreview.com/essay/poetry-and-stuff-a-review-of/|titolo=Poetry and Stuff: A Review of #!|autore=John Cayley|lingua=en-US|accesso=2019-06-02|urlarchivio=https://web.archive.org/web/20190602210941/https://electronicbookreview.com/essay/poetry-and-stuff-a-review-of/|dataarchivio=2019-06-02}}</ref> The effect of sharing the source code, according to Galanter, not only further creates confusion as to whether the source code is the text but also allows other artists to create variations of the output, which “breaks with the paradigm of the heroic single artist creating a ‘fixed’ masterpiece.”<ref name=":3">{{Cita libro|autore=Philip Galanter|curatore=Christiane Paul|titolo=A Companion to Digital Art|edizione=1|anno=2016|editore=John Wiley & Sons, Inc.|lingua=en|pp=169-171|capitolo=Generative Art Theory}}</ref>

== Contention ==

The literary status of algorithmic outputs has been an ongoing contention even amongst [[new media]] artists and critics; [[Tecnologia dell'informazione|digital technology]] theorist [[Yuk Hui]] called algorithmic outputs “algorithmic catastrophes” rather than anything worth studying at all, defining outputs, or “the product of automated algorithms,” as “the failure of reason,” not even “material failure.”<ref>{{Cita pubblicazione|autore=Yuk Hui|anno=2015|titolo=Algorithmic Catastrophe—The Revenge of Contingency|rivista=Parrhesia|volume=23|numero=|p=123|lingua=en|url=http://whatishappeningtoourbrain.rietveldacademie.nl/pages/brain/parrhesia.pdf}}</ref> Portuguese [[Letteratura sperimentale|experimental poet]] [[Rui Torres]], whose creative works include presenting poetry in [[hypermedia]] contexts, asserted, while fielding questions after a talk delivered at the [[Università della California, Berkeley|University of California, Berkeley]] in April 2016,<ref>{{Cita video|autore=Rui Torres|titolo=Rui Torres – Unlocking the Secret Garden: Electronic Literature from Portugal|url=https://www.youtube.com/watch?v=xKSo0iqdvPk|accesso=2019-05-24|data=2016-05-04|editore=Institute of European Studies, UC Berkeley|lingua=en}}</ref> that algorithmic outputs have no literary value.

According to [[Philip Galanter|Galanter]], the oft-discussed question “[[Arte|What is art?]]” in [[Storia dell'arte|art history]] does not go unnoticed when conceptualizing a generative art theory. Generative art, Galanter notes, however, additionally faces the question frequently encountered within [[Artificial Intelligence|artificial intelligence]]: “Can it be claimed that a computer can and will express itself? Alternatively, when the computer determines forms not anticipated by the artist, does its creation still qualify as the artist’s expression?”<ref name=":3">{{Cita libro|autore=Philip Galanter|curatore=Christiane Paul|titolo=A Companion to Digital Art|edizione=1|anno=2016|editore=John Wiley & Sons, Inc.|lingua=en|pp=169-171|capitolo=Generative Art Theory}}</ref>

== See also ==