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Jesper Juul has an amazing new book:
Too Much Fun: The Five Lives of the Commodore 64 !
Just in case you thought I was the only one blogging these days — no, Jesper has a post in which he describes the book and lists talks he is doing about it. In the book, he considers how the C64 was different things to different people over time, with five main sorts of media imaginaries (or computational imaginaries) at work.
I’m in Canada today — Toronto, specifically — to celebrate the publication of
Output: An Anthology of Computer-Generated Text, 1953–2023. (ed. Lillian-Yvonne Bertram & Nick Montfort, MIT Press & Counterpath 2024) in conversation with Matt Nish-Lapidus and with a reading by Kavi Davvoori. I haven’t been here very long, and the Output event doesn’t start for an hour and fifteen minutes, but I’ve already enjoyed walking from the airport, and then around town, not to mention consuming a smoked meat omelette.
All the Way for the Win was just published by Penteract Press — today! It’s available for sale from their online store.
This book of poetry begins by narrating the birth of the universe and concludes after describing the eradication of the last human-authored poetic text.
While it doesn’t deal with everything in between, it’s mean to touch on many aspects of human history and experience.
The poems in the book consist entirely of three-letter words.
Six of the poems from it were published at the very end of 2024 in DIAGRAM.
The book has received two great endorsements:
It’s already been a full month since the most recent
National Novel Generation Month (NaNoGenMo 2024). I surely should have written up some thoughts sooner. Other computer-generated texts have kept me busy, though!
The anthology I edited with Lillian-Yvonne Bertram, Output: An Anthology of Computer-Generated Text, 1953–2023, was published on November 5 and we’ve been going to discuss it, read from it, and hear people’s reactions. More information about Output can be found in my previous blog post, which I’m updating to reflect upcoming events.
I’m delighted that after more than four years of work by Lillian-Yvonne Bertram and myself — co-editors of this book — the MIT Press and Counterpath have jointly published
This anthology spans seven decades of computer-generated text, beginning before the term “artificial intelligence” was even coined. While not restricted to poetry, fiction, and other creative projects, it reveals the rich work that has been done by artists, poets, and other sorts of writers who have taken computing and code into their own hands. The anthology includes examples of powerful and principled rhetorical generation along with story generation systems based on cognitive research. There are examples of “real news” generation that has already been informing us — along with hoaxes and humor.
Taper, an online literary magazine published twice yearly, is now in its 12th issue. An independent editorial collective (Kyle Booten, Angela Chang, Kavi Duvvoori, Leonardo Flores, Helen Shewolfe Tseng, and Andy Wallace, for this issue) makes all the decisions about selections, themes for forthcoming issues, and so on, and also handles all communication with authors. They do all the work! Editors are allowed to submit works, in which case they recuse themselves from the collective’s discussion. I’m proud to be publisher of this magazine — although it’s really the editorial collective that makes it happen.
February 14 is Valentine’s Day for many; this year, it’s also Ash Wednesday for Western Christians, both Orthodox and unorthodox. Universally, it is Harry Mathews’s birthday. Harry, who would have been 94 today, was an amazing experimental writer. He’s known to many as the first American to join the Oulipo.
Given the occasion, I thought I’d write a blog post, which I do very rarely these days, to discuss my poetics — or, because mine is a poetics of concision, my “poetix.” Using that word saves one byte. The term may also suggest an underground poetix, as with comix, and this is great.
It’s been a while since I stopped over in Buffalo, but I’m finally unfrozen, and I’m unfreezing my blog, too, to comment a bit on the exhibit I saw — this was the purpose of my brief wintry sojourn — Difference Machines: Technology and Identity in Contemporary Art at the Albright-Knox Northland. I visited the show with my spouse, Flourish; Tina Rivers Ryan (who curated the exhibit with Paul Vanouse) was kind enough to give us a big chunk of her day and provide a detailed tour.
If you thought my last post about a 32 byte (plus 2 byte load address) Commodore 64 demo was esoteric, wait until you burrow into this one.
Back in March at Lovebyte I released a C64 demo that is a total of 6 bytes. I contrived this one so that the 4b of code end up “wedged” into a zero-page routine that runs every time RETURN is pressed. The effect is a pulsing pattern on the border. (You can just as easily make the screen pulse, which I personally find less aesthetically pleasing because the pulsing in that case happens over any text that is on the screen. It’s also a bit more eye watering and more likely to trigger seizures.) While it’s a very simple effect, I don’t know of any demo at all for this platform that has this file size or any smaller one. Some extensive trickery was involved in injecting my code into existing memory contents to produce this effect.
Yesterday I wrote a little demoscene production, an intro, called “Tyger Tyger.” It’s a Commodore 64 machine language program with 32 bytes of code and the requisite 2 byte header, found on all C64 PRG files. It only garnered third place out of five entries in the 256b compos at @party 2021, behind two impressive entries that were for a different platform (DOS) and went to the limit of allowable code (eight times as much).
Dead Alive Press has just published my Golem, much to my delight, and I am launching the book tonight in a few minutes at WordHack, a monthly event run by the NYC community gallery Babycastles.
This seems like a great time to credit the editors and presses I have worked with to publish several of these books, and to let you all know where they can be purchased, should you wish to indulge yourselves:
Generative Unfoldings is an online exhibit of generative art, running live in the browser and consisting entirely of free/libre/open-source software. I am curating the exhibit. Sarah Rosalena Balbuena-Brady, D. Fox Harrell, Lauren Lee McCarthy, and Parag K. Mital worked with me to select fourteen artworks. The show will feature:
Amazing Quest should be completely open to the interpretation of players, to their appreciation of it, and, if they choose, to their rejection of it.
I refrained from discussing anything about the game during the IF Comp. Now that it’s over, I am glad to answer some questions that have arisen—with the earnest hope that my answers don’t preclude people from coming up with their own interpretations and responses.
These aren’t really frequently asked questions, but they are all actually questions that have been asked at least once. When I quote directly, the quotations are from anonymous feedback from IF Comp players. Whether quoted or in paraphrase, all of these are real questions or responses that I’ve gotten.
About four million Google hits for “peaceful protesters,” only about 55,000 for “peaceful police.” Anyone who has been reading the news will have seen the phrase “peaceful protesters” again and again—and probably will not have seen this other phrase. Does that mean peaceful protesters outnumber peaceful police 80 to 1? Or at least that we think and speak as if this is the case?
Please enjoy Post Hoc, a show I’ve put together with generous contributions from a baker’s dozen artists and seven writers. There was no pre-established theme for Post Hoc, which was prompted by our inability to get to IRL galleries and museums. Artists were simply asked for digital images, any digital image they considered an artwork. (Several works in the show do have other manifestations.) The work in the show is all from 2020. I solicited 1000–1200 character responses to each piece.
Agnieszka Kurant 
response by Mary Flanagan
Christian Bök 
response by Paul Stephens
This May 21, 2020 at 7pm Eastern Time is another great WordHack!
A regular event at Babycastles here in New York City, this WordHack will be fully assumed into cyberspace, hosted as usual by Todd Anderson but this time with two featured readings (and open mic/open mouse) viewable on Twitch. Yes, this is the link to the Thursday May 21, 2020 WordHack!
I’m especially enthusiastic about this one because the two featured readers will be sharing their new, compelling, and extraordinary books of computer-generated poetry. This page is a virtual “book table” linking to where you can buy these books (published by two nonprofit presses) from their nonprofit distributor.
“Sonnet Corona” is a computer-generated sonnet, or if you look at it differently, a sonnet cycle or very extensive crown of sonnets.
The sonnets generated are in monometer. That is, each line is of a single foot, and in this case, is of strictly two syllables.
They are linked not by the last line of one becoming the first line of the next, but by being generated from the same underlying code: A very short web page with a simple, embedded JavaScript program.
Because there are three options for each line, there are 314 = 4,782,969 possible sonnets.
New York City, we are continually told, is now the “epicenter” of the COVID-19 pandemic in the United States. Italy is the world’s “epicenter.” This term is used all the time in the news and was recently deployed by our mayor here in NYC.
I’m following up on a February 15 Language Log post by Mark Liberman about why this term is being used in this way. Rather than asking why people are using the term, I’m going to discuss how this word influences our thinking. “Epicenter” leads us to think about the current global pandemic in some unhelpful ways. Although less exciting, simply saying something like “New York City has the worst outbreak” would actually improve our conceptual understanding of this crisis.
When it rains, it pours, which matters even on the sea.
Thanks to bug reports by Barry Roundtree and Jan Grant, via the 2020 Critical Code Studies Working Group (CCSWG), there is now another new version of Sea and Spar Between which includes additional bug fixes affecting the interface as well as the generation of language.
As before, all the files in this version 1.0.2.are available in a zipfile, for those who care to study or modify them.
Stephanie Strickland and I published the first version of Sea and Spar Between in 2010, in Dear Navigator, a journal no longer online. In 2013 The Winter Anthology republished it. That year we also provided another version of this poetry system for Digital Humanities Quarterly (DHQ), cut to fit the toolspun course, identical in terms of how it functions but including, in comments within the code, what is essentially a paper about the detailed workings of the system. In those comments, we wrote:
The following syllables, which were commonly used as words by either Melville or Dickinson, are combined by the generator into compound words.
Ah, distinctly I remember it was in the bleak November;
And each separate bit and pixel wrought a novel on GitHub.
April may be the cruelest month, and now the month associated with poetry, but November is the month associated with novel-writing, via NaNoWriMo, National Novel Writing Month. Now, thanks to an offhand comment by Darius Kazemi and the work of Hugo van Kemenade, November is also associated with the computer-generation of novels, broadly speaking. Any computer program and its 50,000 word+ output qualifies as an entry in NaNoGenMo, National Novel Generation Month.
The untitled poem by Eugen Gomringer that we can only call “silencio” is a classic, perhaps the classic, concrete poem. According to Marjorie Perloff’s Unoriginal Genius, the “silencio” version of the poem dates from 1953. In my 1968 edition of The Book of Hours and Constellations I find the German manifestation of this poem (with the word “schweigen”) and the English poem (with the word “silence”), on the same page at the very beginning of the book — but no “silencio.” The place where I do find “silencio” is An Anthology of Concrete Poetry from 1967, edited by Emmett Williams. My copy is the re-issue by Primary Information.
During Synchrony 2019, on the train from New York City to Montreal, two of us (nom de nom and shifty) wrote a 64 byte Commodore 64 program which ended up in the Old School competition. (It could have also gone into the Nano competition for <=256 byte productions.) Our Alphabit edged out the one other fine entry in Old School,a Sega Genesis production by ModeDude also written on the train.
The second issue of Taper, a literary magazine featuring small-scale computational work, is now online.
The second issue was edited by Sebastian Bartlett, Lillian-Yvonne Bertram, Angela Chang, Judy Heflin, and Rachel Paige Thompson, working collectively. Bad Quarto (my micropress) publishes the journal.
The call for issue #3 is posted. The deadline is February 18 (2019).
Taper #2 features 18 works by six a., Sebastian Bartlett, Kyle Booten, Angela Chang, Augusto Corvalan, Kavi Duvvoori, Esen Espinsa, Leonardo Flores, Judy Heflin, Chris Joseph, Vinicius Marquet, Stuart Moulthrop, Everest Pipkin, Mark Sample, and William Wu. Go take a look!
For two weeks only (today through October 23), my limited-edition computer-generated book, Hard West Turn, is available for reading in an installation at Time Farm, underneath the MIT Press Bookstore, 301 Massachusetts Ave, Cambridge, MA.
Hard West Turn is a computer-generated novel about gun violence in the United States. The copy exhibited is one of three artist’s proofs; only 13 copies (one for each of the original states) were made for sale. The generating program is free software, but the specific copy-edited text of this book has only been made available in print. Hard West Turn will be regenerated annually for limited-edition publication each July 4.
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