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</head>
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<body>
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<p><a
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href="https://pzwiki.wdka.nl/mediadesign/Radio_WORM:_Protocols_for_Collective_Performance#Monday_21_October"
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class="uri">https://pzwiki.wdka.nl/mediadesign/Radio_WORM:_Protocols_for_Collective_Performance#Monday_21_October</a></p>
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<h2 id="plan">Plan</h2>
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<ul>
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<li>Review of the reading (<a
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href="https://hub.xpub.nl/bootleglibrary/book/789">Bellos in Mainframe
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Experimentalism</a>)</li>
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<li>Some Examples</li>
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</ul>
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<h2 id="oulipo">Oulipo</h2>
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<p><a href="https://oulipo.net/" class="uri">https://oulipo.net/</a></p>
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<h2 id="n7-an-algorithm">N+7, an algorithm?</h2>
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<p>Perhaps one of the most well known <em>constraint</em> as they are
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called by Oulipo practioners.</p>
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<p>You could also usefully consider N+7 as an example of an
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<em>algorithm</em>.</p>
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<p><img src="A_Computer_Glossary-Algorithm.png" /></p>
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<ul>
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<li><a href="https://oulipo.net/fr/contraintes/s7"
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class="uri">https://oulipo.net/fr/contraintes/s7</a></li>
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<li><a href="http://www.spoonbill.org/n+7/"
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class="uri">http://www.spoonbill.org/n+7/</a></li>
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</ul>
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<h2 id="another-famous-constraint-no-e">Another famous constraint: No
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e</h2>
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<p>Also very well known is Perec’s La Disparation (A Void in English), a
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novel written without the letter e.</p>
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<ul>
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<li><a href="https://fr.wikipedia.org/wiki/La_Disparition_(roman)"
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class="uri">https://fr.wikipedia.org/wiki/La_Disparition_(roman)</a></li>
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</ul>
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<p>It’s inspired a whole Mastodon instance where no e’s are one of the
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central requirements for posting on the social network:</p>
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<ul>
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<li><a href="https://oulipo.social/about"
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class="uri">https://oulipo.social/about</a></li>
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</ul>
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<h2 id="oulipo-zines">Oulipo <em>zines</em></h2>
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<p>Oulipo worked with members who produced limited edition pamphlets
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(basically zines).</p>
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<p><a href="https://oulipo.net/fr/publications"
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class="uri">https://oulipo.net/fr/publications</a></p>
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<h2 id="who-are-the-women-of-oulipo-a-constraint">Who are the Women of
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Oulipo? (a constraint ;)</h2>
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<p>Though mostly populated by men, in revisiting the history of Oulipo,
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it’s a useful constraint to consider, as Sarah Coolidge does in her
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article, <a
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href="https://www.catranslation.org/feature/who-are-the-women-of-oulipo/">Who
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Are the Women of Oulipo?</a></p>
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<p>BUT the broken links are quite numerous and tragic…</p>
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<p>For instance this page:</p>
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<ul>
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<li><a
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href="http://www.cipmarseille.fr/pop_documents_liens.php?id=985&type_proprio=1&gestion=E"
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class="uri">http://www.cipmarseille.fr/pop_documents_liens.php?id=985&type_proprio=1&gestion=E</a></li>
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</ul>
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<p>has audio links, which themselves need repair:</p>
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<ul>
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<li><a
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href="https://archive.cipmarseille.fr/documents/448_20090613131151.mp3"
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class="uri">https://archive.cipmarseille.fr/documents/448_20090613131151.mp3</a></li>
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<li><a
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href="https://archive.cipmarseille.fr/documents/17_20061020144007.mp3"
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class="uri">https://archive.cipmarseille.fr/documents/17_20061020144007.mp3</a></li>
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<li><a
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href="https://archive.cipmarseille.fr/documents/890_20121005183822.mp3"
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class="uri">https://archive.cipmarseille.fr/documents/890_20121005183822.mp3</a></li>
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</ul>
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<p>A quick summary (with repaired links):</p>
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<ul>
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<li>Michèle Métail, a collection of whoms constrained poems appear <a
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href="https://www.poetryinternational.com/en/poets-poems/poets/poet/102-2044_Metail">in
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translation</a> online.</li>
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<li>Michelle Grangaud, who worked with palindromes and anagrams, and
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developed a constraint called <a
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href="https://oulipo.net/fr/contraintes/poeme-fondu">poème fondu</a>, in
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which one poem is “whittled down into another poetic form (for example
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haiku), using only words from the original”.</li>
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<li>Anne Garréta’s <a
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href="https://www.goodreads.com/book/show/23129715-sphinx">Sphinx</a>
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(<a
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href="https://kenyonreview.org/reviews/sphinx-by-anne-garreta-738439/">a
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review</a>), a romantic novel between two characters that avoides
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explicit gendering of its protagonists.</li>
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<li>Valérie Beaudouin’s <a
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href="https://academic.oup.com/dsh/article-abstract/11/1/23/969581?redirectedFrom=fulltext&login=false">Metrometer</a>,
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a method</li>
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<li>Michèle Audin’s <a
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href="https://www.goodreads.com/book/show/26196054-one-hundred-twenty-one-days">One
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Hundred Twenty-One Days</a>, that traces Mathematicians lives through
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World War I and II.</li>
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</ul>
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<p>Examples of printed Oulipo pamphlets from Michèle Métail and Michelle
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Grangaud are on the Special Issue shelf in the XPUB library!</p>
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<h2 id="n7-applied">N+7 applied</h2>
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<p>Let’s feed the first paragraph of <a
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href="https://www.catranslation.org/feature/who-are-the-women-of-oulipo/">Who
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are the Women of Oulipo</a> to get from:</p>
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<blockquote>
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<p>A major reason for their absence on your bookshelves is that, until
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recently, hardly any works by the women of Oulipo had been published in
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English translation. This phenomenon has only further entrenched the
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notion that the world of literary rule-breaking is in fact a boys club,
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that men alone are the pioneers at the frontier of literary
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innovation.</p>
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</blockquote>
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<p>to surprisingly suggestive and critical (n+1)</p>
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<blockquote>
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<p>A major-domo reasoning for their absentee on your bookshelves is
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that, until recently, hardly any workshop by the womanizers of Oulipo
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had been published in English translator. This phial has only further
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entrenched the nought that the worm of literary ruler-breaking is in
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faction a boycotts clubhouse, that manacles alone are the pips at the
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frontiersman of literary innovator.</p>
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</blockquote>
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<p>to absurd (n+7)</p>
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<blockquote>
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<p>A malady rebound for their abyss on your bookshelves is that, until
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recently, hardly any worship by the woodcutters of Oulipo had been
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published in English transporter. This philosophy has only further
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entrenched the novice that the wound of literary rummage-breaking is in
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fag a brags clutter, that mandibles alone are the piranhas at the fruit
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of literary inquiry.</p>
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</blockquote>
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<h2 id="unknown-unknowns">Unknown Unknowns</h2>
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<p>Self-publishing project + publications from Angie Waller</p>
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<p><a href="https://www.unknownunknowns.org/"
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class="uri">https://www.unknownunknowns.org/</a></p>
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<h2 id="reading-like-a-computer">Reading like a computer</h2>
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<p>Reading like a computer, 2018</p>
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<ul>
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<li><a
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href="https://www.unknownunknowns.org/product/reading-like-a-computer"
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class="uri">https://www.unknownunknowns.org/product/reading-like-a-computer</a></li>
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<li><a href="https://www.theguardian.com/news/series/facebook-files"
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class="uri">https://www.theguardian.com/news/series/facebook-files</a></li>
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<li><a
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href="https://www.theguardian.com/news/gallery/2017/may/24/hate-speech-and-anti-migrant-posts-facebooks-rules"
|
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class="uri">https://www.theguardian.com/news/gallery/2017/may/24/hate-speech-and-anti-migrant-posts-facebooks-rules</a></li>
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</ul>
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<h2 id="last-night-bus-stop-yoga-pants-love-unknown-romance">Last Night
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Bus Stop Yoga Pants (Love Unknown Romance)</h2>
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<p><a
|
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|
href="https://www.unknownunknowns.org/category/love-unknown-romance"
|
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|
class="uri">https://www.unknownunknowns.org/category/love-unknown-romance</a></p>
|
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<p><em>Last Night Bus Stop Yoga Pants, Chicago Illinois</em></p>
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<h2 id="some-other-inspiring-examples">Some other (inspiring)
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|
examples</h2>
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<ul>
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|
<li><a href="https://github.com/antiboredom/audiogrep">audiogrep</a> /
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<a href="https://antiboredom.github.io/videogrep/">videogrep</a> and the
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|
TED Super cuts</li>
|
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|
<li>Perec observations see <a
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|
|
href="https://ubu.com/sound/perec.html">ubuweb</a></li>
|
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|
|
|
|
<li>Anne-James Chaton is a poet / performer that often presents “gray
|
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|
literature” (receipts, logs, lists) see <a
|
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|
|
href="https://video.constantvzw.org/vj12/.index/AnneJamesChaton-performance.ogv/play.mp4">vj12
|
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|
performance</a>, or</li>
|
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|
<li><a href="https://www.decontextualize.com/">Allison Parrish</a> is a
|
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|
self-described poet, programmer, and professor of interactive media
|
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|
arts. Her work often contains examples of code and libraries that
|
|
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|
|
resonate with many of the protocols from Die Maschine, and the
|
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|
|
techniques of Oulipo.</li>
|
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|
|
<li>Perec’s Die Maschine is an example of a fictitious imagination of
|
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|
computing (no actual computer programs were involved). There’s a kind of
|
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|
tradition of this kind of speculative approach to computation. Such as:
|
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|
|
<a
|
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|
|
|
href="https://www.cartoonbrew.com/cgi/max-headroom-and-the-strange-world-of-pseudo-cgi-82745.html">Max
|
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|
|
Headroom and the strange world of pseudo-CGI</a></li>
|
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|
</ul>
|
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|
<h2 id="epicpedia">Epicpedia</h2>
|
|
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|
|
<p>A different example of a “script generator” is Annemieke van den
|
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|
|
Hoek’s Epicpedia.</p>
|
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|
|
|
|
<p><a href="epicpedia_2024_notes.html">notes on epicpedia (2024)</a></p>
|
|
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|
<h2 id="rhetorical-space">Rhetorical Space</h2>
|
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|
|
<p>Lorraine Code, Rhetorical Spaces, Essays on Gendered Locations
|
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|
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|
|
(1995)</p>
|
|
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|
|
|
<p>(via a citation from Hope Olson, Mapping beyond Dewey’s Boundaries,
|
|
|
|
|
|
Constructing Classificatory Space for Marginalized Knowledge Domains,
|
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|
|
|
|
published in Library Trends, 1998)</p>
|
|
|
|
|
|
<blockquote>
|
|
|
|
|
|
<p>Rhetorical spaces… are fictive but not fanciful or fixed locations,
|
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|
|
|
whose (tacit, rarely spoken) territorial imperatives structure and limit
|
|
|
|
|
|
the kinds of utterances that can be voiced within them with <strong>a
|
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|
|
|
|
reasonable expectation of uptake and “choral support”: an expectation of
|
|
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|
|
|
being heard, understood, taken seriously.</strong> They are the sites
|
|
|
|
|
|
where the very possibility of an utterance counting as “true-or-false”
|
|
|
|
|
|
or of a discussion yielding insight is made manifest. Some simple
|
|
|
|
|
|
examples will indicate what I mean the term to achieve….</p>
|
|
|
|
|
|
<p>Imagine trying to make a true statement about whether it is more
|
|
|
|
|
|
convenient to fly into Newark or La Guardia airport in the year 1600.
|
|
|
|
|
|
<strong>The statement would not be false but meaningless</strong>: it
|
|
|
|
|
|
could neither be true nor false within the available discursive
|
|
|
|
|
|
possibilities. Or imagine trying to have a productive public debate
|
|
|
|
|
|
about abortion in the Vatican in 1995, where there is no available
|
|
|
|
|
|
rhetorical space, not because the actual speech acts involved would be
|
|
|
|
|
|
overtly prohibited, but because the available rhetorical space is not
|
|
|
|
|
|
one where ideas on such a topic can be heard and debated openly,
|
|
|
|
|
|
responsively…</p>
|
|
|
|
|
|
<p>What I want this terminology <a href="#rhetorical-space">rhetorical
|
|
|
|
|
|
space</a> to do [is], namely to deflect the focus of philosophical
|
|
|
|
|
|
analysis <strong>away from single and presumably self-contained
|
|
|
|
|
|
propositional utterances pronounced by no one in particular and as
|
|
|
|
|
|
though into a neutral space</strong>; and to <strong>move it into
|
|
|
|
|
|
textured locations where it matters who is speaking and where and why,
|
|
|
|
|
|
and where such mattering bears directly upon the possibility of
|
|
|
|
|
|
knowledge claims, moral pronouncements, descriptions of “reality”
|
|
|
|
|
|
achieving acknowledgment</strong>, going through. Often in such spaces
|
|
|
|
|
|
discourse becomes a poiesis, a way of representing experience, reality,
|
|
|
|
|
|
that remakes and alters it in the process. And the making is ordinarily
|
|
|
|
|
|
a communal process, dependent for its continuance on receptive
|
|
|
|
|
|
conditions, on engaged responses both favourable and critical. (p. x
|
|
|
|
|
|
)</p>
|
|
|
|
|
|
</blockquote>
|
|
|
|
|
|
<h2 id="why-constraints">Why Constraints?</h2>
|
|
|
|
|
|
<p>Each constraint (or freedom), determines a rhetorical space, of
|
|
|
|
|
|
possible meaning, but which also determines the kinds of collaboration
|
|
|
|
|
|
that can (and should) take place within it.</p>
|
|
|
|
|
|
<h2 id="an-exercise">An exercise</h2>
|
|
|
|
|
|
<ol type="1">
|
|
|
|
|
|
<li>As a group: choose a text (Women of Oulipo, TOS, Definition of
|
|
|
|
|
|
Rhetorical Space?)</li>
|
|
|
|
|
|
<li>Starting in pairs, develop some protocols/algorithms to treat the
|
|
|
|
|
|
chosen text. Perform your algorithm <em>by hand</em> (or <em>on
|
|
|
|
|
|
paper</em>) – ie not with code.</li>
|
|
|
|
|
|
</ol>
|
|
|
|
|
|
<h2 id="exercises-for-over-break">Exercises for over break</h2>
|
|
|
|
|
|
<p>For over the break, think about a protocol/algorithm/constraint that
|
|
|
|
|
|
you would like to try to implement in some way (as a program, on paper,
|
|
|
|
|
|
in a web page using HTML + javascript, and/or eventually other libraries
|
|
|
|
|
|
or APIs. It’s important to formulate an objective that is attainable. If
|
|
|
|
|
|
coding is new to you, start with something relvatively simple or perhaps
|
|
|
|
|
|
already well-defined, but which still interests you such as:</p>
|
|
|
|
|
|
<ul>
|
|
|
|
|
|
<li>Metronome (could work with just an audio tag, webaudio api and/or
|
|
|
|
|
|
libraries like tonejs or pizzicato).</li>
|
|
|
|
|
|
<li>n+7 generator</li>
|
|
|
|
|
|
</ul>
|
|
|
|
|
|
<p>What (additional) resources do you need?</p>
|
|
|
|
|
|
<h2 id="readingslistenings-for-the-break">Readings+Listenings for the
|
|
|
|
|
|
break</h2>
|
|
|
|
|
|
<p><em>The Laurence Rassel Show</em> is a radio show made in 2007, a
|
|
|
|
|
|
collaboration between the art and media org Constant (where Laurence
|
|
|
|
|
|
Rassel was a core member at the time), and DJ/musician Terre
|
|
|
|
|
|
Thamlitz.</p>
|
|
|
|
|
|
<p>Consider, some different links of the progam online, from Terre
|
|
|
|
|
|
Thamlitz’s own site, to an archival copy of publicrec.org (with
|
|
|
|
|
|
supporting documents), to the physical CD (in library):</p>
|
|
|
|
|
|
<ul>
|
|
|
|
|
|
<li><a
|
|
|
|
|
|
href="https://www.comatonse.com/writings/2007_laurencerasselshow.html"
|
|
|
|
|
|
class="uri">https://www.comatonse.com/writings/2007_laurencerasselshow.html</a></li>
|
|
|
|
|
|
<li><a href="http://publicrec.org/archive/2-01/2-01-014/2-01-014.html"
|
|
|
|
|
|
class="uri">http://publicrec.org/archive/2-01/2-01-014/2-01-014.html</a></li>
|
|
|
|
|
|
</ul>
|
|
|
|
|
|
<p>And contrast with less contextualized presence on other networks: *
|
|
|
|
|
|
<a
|
|
|
|
|
|
href="https://www.discogs.com/master/191938-Laurence-Rassel-Terre-Thaemlitz-The-Laurence-Rassel-Show"
|
|
|
|
|
|
class="uri">https://www.discogs.com/master/191938-Laurence-Rassel-Terre-Thaemlitz-The-Laurence-Rassel-Show</a>
|
|
|
|
|
|
* <a href="https://soundcloud.com/fedoriko/useless-movement"
|
|
|
|
|
|
class="uri">https://soundcloud.com/fedoriko/useless-movement</a> * <a
|
|
|
|
|
|
href="https://www.youtube.com/watch?v=9_LNOBUAmLI"
|
|
|
|
|
|
class="uri">https://www.youtube.com/watch?v=9_LNOBUAmLI</a></p>
|
|
|
|
|
|
<p>READINGS to go with TLRS…</p>
|
|
|
|
|
|
<ul>
|
|
|
|
|
|
<li><a href="https://hub.xpub.nl/bootleglibrary/book/249">Roland
|
|
|
|
|
|
Barthes, Death of the Author</a></li>
|
|
|
|
|
|
<li><a
|
|
|
|
|
|
href="https://hub.xpub.nl/bootleglibrary/read/833/pdf#page=23">Peggy
|
|
|
|
|
|
Phelan, from Unmarked</a></li>
|
|
|
|
|
|
<li><a
|
|
|
|
|
|
href="https://hub.xpub.nl/bootleglibrary/read/260/pdf#page=113">Michel
|
|
|
|
|
|
Foucault, What is an Author</a></li>
|
|
|
|
|
|
</ul>
|
|
|
|
|
|
<p><strong>ALSO</strong>: check out the printed CD in the library for
|
|
|
|
|
|
the physical poster inside that contains a full “libretto” … all the
|
|
|
|
|
|
quoted texts and sources.</p>
|
|
|
|
|
|
</body>
|
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</html>
|
