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Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media.
Generative art refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
Consequences is an old parlour game in a similar vein to the Surrealist game exquisite corpse and Mad Libs.
Hypertext fiction is a genre of electronic literature, characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
Christopher S. Strachey was a British computer scientist. He was one of the founders of denotational semantics, and a pioneer in programming language design and computer time-sharing. He has also been credited as possibly being the first developer of a video game. He was a member of the Strachey family, prominent in government, arts, administration, and academia.
Electronic literature or digital literature is a genre of literature encompassing works created exclusively on and for digital devices, such as computers, tablets, and mobile phones. As electronic literature uses games, images, sound, and links, these writings cannot be easily printed, or cannot be printed at all, because elements crucial to the text are unable to be carried over onto a printed version.
Nick Montfort is a poet and professor of digital media at MIT, where he directs a lab called The Trope Tank. He also holds a part-time position at the University of Bergen where he leads a node on computational narrative systems at the Center for Digital Narrative. Among his publications are seven books of computer-generated literature and six books from the MIT Press, several of which are collaborations. His work also includes digital projects, many of them in the form of short programs. He lives in New York City.
The Eureka, also known as the Latin Verse Machine, is a mid-19th century machine for generating Latin verses, created and exhibited by the Quaker inventor John Clark of Bridgwater.
Clark, a cousin of Cyrus Clark, was born at Greinton in Somerset in 1785 and moved to Bridgwater in 1809. There he was first a grocer and later a printer. In 1830 he started work on the Eureka and was able to exhibit it in 1845 in the Egyptian Hall in Picadilly. Visitors, for the admission price of one shilling, could see a machine that resembled a ‘small bureau bookcase’, with six narrow windows in the front. As it prepared each new verse, the machine would play the National Anthem, becoming silent after about a minute, when the verse was complete.
The verses created by the Eureka were gloomy and oracular hexameters, created to a single format, which allowed for many combinations, all metrically sound and meaningful.
María Mencía is a Spanish-born media artist and researcher working as a Senior Lecturer at Kingston University in London, United Kingdom. Her artistic work is widely recognized in the field of electronic literature, and her scholarship on digital textuality has been widely published. She holds a Ph.D. in Digital Poetics and Digital Art at the Chelsea College of Arts of the University of the Arts London and studied English Philology at the Complutense University of Madrid.
Christopher Strachey wrote a combinatory love letter algorithm for the Manchester Mark 1 computer in 1952. The poems it generated have been seen as the first work of electronic literature and a queer critique of heteronormative expressions of love.
John Howland Cayley is a Canadian pioneer of writing in digital media as well as a theorist of the practice, a poet, and a Professor of Literary Arts at Brown University.
David Jhave Johnston is a Canadian poet, videographer, and motion graphics artist working chiefly in digital and computational media,. and a researcher at the Center for Digital Narrative at the University of Bergen. This artist's work is often attributed, simply, to the name Jhave.
ReRites is a literary work of "Human + A.I. poetry" by David Jhave Johnston that used neural network models trained to generate poetry which the author then edited. ReRites won the Robert Coover Award for a Work of Electronic Literature in 2022.
This is How You Will Die is an interactive digital poetry and art game created by Jason Nelson, a new media artist, digital poet, and lecturer. Released in 2005, the game combines elements of poetry, digital art, and chance-based mechanics to explore the concept of death and the unpredictability of life.
Netprov is "networked, improvised literature" or collaborative literary improvisations performed on the internet. The word netprov is a portmanteau of "networked" and "improv" as in improvisational theatre. Netprov is considered a genre of electronic literature.
John Clark (1785-1853) was a British printer and inventor who created the first automated text generator, the Latin Verse Machine between 1830 and 1843. Clark also patented a method for rubberising cloth that was used for air beds.
haikU is a browser-based, audience participatory, haiku poem project. The project displays randomly generated haiku poems, and allows the Internet audience to contribute to the project's database of haiku lines. The project is known as a work of electronic literature and for its use of an evolving database, and for the relative coherence of its output. It was created by Nanette Wylde in 2001 and is considered a form of interactive digital poetry.
Storyland is a browser-based narrative work of electronic literature. The project is included in the first Electronic Literature Directory. It was created by Nanette Wylde in 2000 and is considered a form of Combinatory Narrative or Generative Poetry which is created with the use of the computer's random function.
References
- 1 2 Sharples, Mike (2023-01-01). "John Clark's Latin Verse Machine: 19th Century Computational Creativity". IEEE Annals of the History of Computing. 45 (1): 31–42. doi:10.1109/MAHC.2023.3241258. ISSN 1058-6180.
- 1 2 Hall, Jason David (2007-09-01). "Popular Prosody: Spectacle and the Politics of Victorian Versification". Nineteenth-Century Literature. 62 (2): 222–249. doi:10.1525/ncl.2007.62.2.222. ISSN 0891-9356.
- 1 2 Rettberg, Scott (2019). Electronic literature. Cambridge, UK Medford, MA: Polity press. ISBN 978-1-5095-1677-3.
- 1 2 3 4 Bajohr, Hannes (2020). "Algorithmic Empathy: On Two Paradigms of Digital Generative Literature and the Need for a Critique of AI Works". Media Culture and Cultural Techniques Working Papers (4). doi:10.5451/UNIBAS-EP79106.
- ↑ Rettberg, Scott (2019). Electronic literature. Cambridge, UK Medford, MA: Polity press. ISBN 978-1-5095-1677-3.
- ↑ Ryan, James (2017), Nunes, Nuno; Oakley, Ian; Nisi, Valentina (eds.), "Grimes' Fairy Tales: A 1960s Story Generator", Interactive Storytelling, Cham: Springer International Publishing, vol. 10690, pp. 89–103, doi:10.1007/978-3-319-71027-3_8, ISBN 978-3-319-71026-6 , retrieved 2023-08-01
- ↑ Sharples, Mike; Pérez y Pérez, Rafael (2022). Story machines: how computers have become creative writers. London New York: Routledge. ISBN 978-1-003-16143-1.
- ↑ Baillehache, Jonathan (2013). "Chance Operations and Randomizers in Avant-garde and Electronic Poetry: Tying Media to Language". Textual Cultures. 8 (1): 38–56. doi:10.14434/TCv8i1.5049. ISSN 1933-7418.