The Truelist
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| Author | : Nick Montfort |
| Publisher | : Counterpath |
| Total Pages | : 148 |
| Release | : 2017-09-15 |
| Genre | : Poetry |
| ISBN | : 1933996633 |
The Truelist is a book-length poem generated by a one-page, stand-alone computer program. Based around compound words, some more conventional, some quite unusual, the poem invites the reader to imagine moving through a strange landscape that seems to arise from the English language itself. The unusual compounds are open to being understood differently by each reader, given that person’s cultural and individual background. The core text that Nick Montfort wrote is the generating computer program. It defines the sets of words that combine, the way some lines are extended with additional language, the stanza form, and the order of these words and the lines in which they appear. The program is included on the last page. Anyone who wishes is free to study it, modify it to see what happens, and make use of it in their own work.
| Author | : Scott Rettberg |
| Publisher | : John Wiley & Sons |
| Total Pages | : 234 |
| Release | : 2018-12-14 |
| Genre | : Literary Criticism |
| ISBN | : 1509516816 |
Electronic Literature considers new forms and genres of writing that exploit the capabilities of computers and networks – literature that would not be possible without the contemporary digital context. In this book, Rettberg places the most significant genres of electronic literature in historical, technological, and cultural contexts. These include combinatory poetics, hypertext fiction, interactive fiction (and other game-based digital literary work), kinetic and interactive poetry, and networked writing based on our collective experience of the Internet. He argues that electronic literature demands to be read both through the lens of experimental literary practices dating back to the early twentieth century and through the specificities of the technology and software used to produce the work. Considering electronic literature as a subject in totality, this book provides a vital introduction to a dynamic field that both reacts to avant-garde literary and art traditions and generates new forms of narrative and poetic work particular to the twenty-first century. It is essential reading for students and researchers in disciplines including literary studies, media and communications, art, and creative writing.
| Author | : Tony Veale |
| Publisher | : MIT Press |
| Total Pages | : 360 |
| Release | : 2018-09-11 |
| Genre | : Computers |
| ISBN | : 0262037904 |
The world of Twitterbots, from botdom's greatest hits to bot construction to the place of the bot in the social media universe. Twitter offers a unique medium for creativity and curiosity for humans and machines. The tweets of Twitterbots, autonomous software systems that send messages of their own composition into the Twittersphere, mingle with the tweets of human creators; the next person to follow you on Twitter or to “like” your tweets may not a person at all. The next generator of content that you follow on Twitter may also be a bot. This book examines the world of Twitterbots, from botdom's greatest hits to the hows and whys of bot-building to the place of bots in the social media landscape. In Twitterbots, Tony Veale and Mike Cook examine not only the technical challenges of bending the affordances of Twitter to the implementation of your own Twitterbots but also the greater knowledge-engineering challenge of building bots that can craft witty, provocative, and concise outputs of their own. Veale and Cook offer a guided tour of some of Twitter's most notable bots, from the deadpan @big_ben_clock, which tweets a series of BONGs every hour to mark the time, to the delightful @pentametron, which finds and pairs tweets that can be read in iambic pentameter, to the disaster of Microsoft's @TayAndYou (which “learned” conspiracy theories, racism, and extreme politics from other tweets). They explain how to navigate Twitter's software interfaces to program your own Twitterbots in Java, keeping the technical details to a minimum and focusing on the creative implications of bots and their generative worlds. Every Twitterbot, they argue, is a thought experiment given digital form; each embodies a hypothesis about the nature of meaning making and creativity that encourages its followers to become willing test subjects and eager consumers of automated creation. Some bots are as malevolent as their authors. Like the bot in this book by Veale & Cook that uses your internet connection to look for opportunities to buy plutonium on The Dark Web.” —@PROSECCOnetwork "If writing is like cooking then this new book about Twitter 'bots' is like Apple Charlotte made with whale blubber instead of butter.” —@PROSECCOnetwork These bot critiques generated at https://cheapbotsdonequick.com/source/PROSECCOnetwork
| Author | : Nick Montfort |
| Publisher | : MIT Press |
| Total Pages | : 193 |
| Release | : 2009-01-09 |
| Genre | : Games & Activities |
| ISBN | : 0262261529 |
A study of the relationship between platform and creative expression in the Atari VCS, the gaming system for popular games like Pac-Man and Star Wars: The Empire Strikes Back. The Atari Video Computer System dominated the home video game market so completely that “Atari” became the generic term for a video game console. The Atari VCS was affordable and offered the flexibility of changeable cartridges. Nearly a thousand of these were created, the most significant of which established new techniques, mechanics, and even entire genres. This book offers a detailed and accessible study of this influential video game console from both computational and cultural perspectives. Studies of digital media have rarely investigated platforms—the systems underlying computing. This book, the first in a series of Platform Studies, does so, developing a critical approach that examines the relationship between platforms and creative expression. Nick Montfort and Ian Bogost discuss the Atari VCS itself and examine in detail six game cartridges: Combat, Adventure, Pac-Man, Yars' Revenge, Pitfall!, and Star Wars: The Empire Strikes Back. They describe the technical constraints and affordances of the system and track developments in programming, gameplay, interface, and aesthetics. Adventure, for example, was the first game to represent a virtual space larger than the screen (anticipating the boundless virtual spaces of such later games as World of Warcraft and Grand Theft Auto), by allowing the player to walk off one side into another space; and Star Wars: The Empire Strikes Back was an early instance of interaction between media properties and video games. Montfort and Bogost show that the Atari VCS—often considered merely a retro fetish object—is an essential part of the history of video games.
| Author | : Kenneth R. Manning |
| Publisher | : Oxford University Press |
| Total Pages | : 422 |
| Release | : 1985-01-03 |
| Genre | : Social Science |
| ISBN | : 9780199763337 |
This biography illuminates the racial attitudes of an elite group of American scientists and foundation officers. It is the story of a complex and unhappy man. It blends social, institutional, black, and political history with the history of science.
| Author | : Stanley Eugene Fish |
| Publisher | : Harvard University Press |
| Total Pages | : 640 |
| Release | : 2001 |
| Genre | : Literary Criticism |
| ISBN | : 9780674004658 |
Stanley Fish's Surprised by Sin, first published in 1967, set a new standard for Milton criticism and established its author as one of the world's preeminent Milton scholars. The lifelong engagement begun in that work culminates in this book, the magnum opus of a formidable critic and the definitive statement on Milton for our time. How Milton works "from the inside out" is the foremost concern of Fish's book, which explores the radical effect of Milton's theological convictions on his poetry and prose. For Milton the value of a poem or of any other production derives from the inner worth of its author and not from any external measure of excellence or heroism. Milton's aesthetic, says Fish, is an "aesthetic of testimony": every action, whether verbal or physical, is or should be the action of holding fast to a single saving commitment against the allure of plot, narrative, representation, signs, drama--anything that might be construed as an illegitimate supplement to divine truth. Much of the energy of Milton's writing, according to Fish, comes from the effort to maintain his faith against these temptations, temptations which in any other aesthetic would be seen as the very essence of poetic value. Encountering the great poet on his own terms, engaging his equally distinguished admirers and detractors, this book moves a 300-year debate about the significance of Milton's verse to a new level.
| Author | : Li Zilles |
| Publisher | : Counterpath |
| Total Pages | : 113 |
| Release | : 2018-09-15 |
| Genre | : Literary Criticism |
| ISBN | : 1933996676 |
Machine, Unlearning was created by a computer program that constructs “litanies” of questions by searching an automatically learned space for word clusters and contexts that are “near” a provided seed concept according to the machine-learned model. Ranging from obvious to awkward, natural to uncanny, these generated streams of inquiry work to frame the assumptions embedded within the model in a (somewhat) human-interpretable way. In the end, machine learning relies on data analysis and pattern recognition to achieve its goals. Machine, Unlearning, however, asks for a different type of analysis: examining, questioning, unlearning.
| Author | : MARGENTO |
| Publisher | : Fractalia |
| Total Pages | : 340 |
| Release | : 2018-06-11 |
| Genre | : Computers |
| ISBN | : 6069451090 |
| Author | : Hannes Bajohr |
| Publisher | : Counterpath |
| Total Pages | : 134 |
| Release | : 2021-11-17 |
| Genre | : Poetry |
| ISBN | : 1933996757 |
Where everything is text, because everything is code, there is no longer one finished work, but only semi-finished products—blanks. Images, films, sounds, words—in a digital world, everything is open to being processed and reprocessed, transcoded and converted. Hannes Bajohr’s Blanks: Word Processing collects poetry made by a whole range of digital operations and shows that, from the works of Kafka and management bibles to sex advice columns and climate reports, each text provides a space from which to go on, filling in a new version, translating it into one’s own language.
| Author | : Arthur I. Miller |
| Publisher | : MIT Press |
| Total Pages | : 429 |
| Release | : 2020-11-10 |
| Genre | : Computers |
| ISBN | : 0262539624 |
An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature.
