34 | 2005

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Code, Cod, Ode: Poetic Language & Programming or: Pequeño Lector/Klein Leser: Es gibt (See)lachsfilet?
Glazier, Loss Pequeño (2005) , S. 1-10
Mutation or modulation of words manifest orthographic relations between variants but also sometimes suggest more elusive relations. Much importance can be seen in the specificity of language, especially considering the sum of variations of a single word in different languages. The word itself is a solid object at the center of such a set of permutations. The meaning of a sum of such variants can be likened to an array in programming. An array object can be greater than the sum of its parts, a concept that ties into Cubism as well as to poetry where languages mix. Other array poetry suggests geometric structure; this is poetry that creates meaning from empty space as much as from its solid textual areas. This is similar to the way that architecture creates meaning from empty spaces, as seen notably in uses of the arch. The structural strength of empty space can also be seen in a number of postmodern poems, where such space is integral to their expressiveness. These poems also use array concepts to inform the poem. It is useful to look at examples of code in my own work, which uses arrays and empty space as solid material in strings. What is of use in this method is the concept of precise poetic analysis, of the relevance of position, location, and structure as crucially important in reading code as poetic material.
Principles and Processes of Generative Literature: Questions to Literature
Balpe, Jean-Pierre (2005) , S. 1-8
Generative literature, defined as the production of continuously changing literary texts by means of a specific dictionary, some set of rules and the use of algorithms, is a very specific form of digital literature which is completely changing most of the concepts of classical literature. Texts being produced by a computer and not written by an author, require indeed a very special way of engrammation and, in consequence, also point to a specific way of reading particularly concerning all the aspects of the literary time. In my paper, I will try to present some of the characteristics of generative texts and their consequences for the conception of literature itself. I call "engrammation" the adaptation of expression wills to the technical constraints of the medium used for its mediatisation. For instance, a book needs a fixed writing, and the mediatisation by means of a screen needs other modalities of presentation.
The Problematic Of Form Transitoire Observable, A Laboratory For Emergent Programmed Art
Bootz, Philippe (2005) , S. 1-16
I will present some conceptions of programmed art focused on the problem of form. I will not explain here the different approaches but only open the question in the perspective of the procedural model. I will start from the basic common point of view of the collective Transitoire Observable and, after an overview of some aspects of the procedural model, I will pose the question of form as a specific management in programming of arbitrary aesthetic constraints that are posed by the author in his management of the situation of communication created by the work whatever the surface aesthetics is on screen. In this sense, we will speak of “programmed forms” as forms in programming and not as forms of the programmed multimedia event.

Browsing 34 | 2005 by Subject "Digital Poetry"

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