|
|
<!DOCTYPE html>
|
|
|
<html xmlns="http://www.w3.org/1999/xhtml" lang="" xml:lang="">
|
|
|
<head>
|
|
|
<meta charset="utf-8" />
|
|
|
<meta name="generator" content="pandoc" />
|
|
|
<meta name="viewport" content="width=device-width, initial-scale=1.0, user-scalable=yes" />
|
|
|
<title>2024-10-21-SI25-NOTES</title>
|
|
|
<style>
|
|
|
html {
|
|
|
line-height: 1.5;
|
|
|
font-family: Georgia, serif;
|
|
|
font-size: 20px;
|
|
|
color: #1a1a1a;
|
|
|
background-color: #fdfdfd;
|
|
|
}
|
|
|
body {
|
|
|
margin: 0 auto;
|
|
|
max-width: 36em;
|
|
|
padding-left: 50px;
|
|
|
padding-right: 50px;
|
|
|
padding-top: 50px;
|
|
|
padding-bottom: 50px;
|
|
|
hyphens: auto;
|
|
|
overflow-wrap: break-word;
|
|
|
text-rendering: optimizeLegibility;
|
|
|
font-kerning: normal;
|
|
|
}
|
|
|
@media (max-width: 600px) {
|
|
|
body {
|
|
|
font-size: 0.9em;
|
|
|
padding: 1em;
|
|
|
}
|
|
|
h1 {
|
|
|
font-size: 1.8em;
|
|
|
}
|
|
|
}
|
|
|
@media print {
|
|
|
body {
|
|
|
background-color: transparent;
|
|
|
color: black;
|
|
|
font-size: 12pt;
|
|
|
}
|
|
|
p, h2, h3 {
|
|
|
orphans: 3;
|
|
|
widows: 3;
|
|
|
}
|
|
|
h2, h3, h4 {
|
|
|
page-break-after: avoid;
|
|
|
}
|
|
|
}
|
|
|
p {
|
|
|
margin: 1em 0;
|
|
|
}
|
|
|
a {
|
|
|
color: #1a1a1a;
|
|
|
}
|
|
|
a:visited {
|
|
|
color: #1a1a1a;
|
|
|
}
|
|
|
img {
|
|
|
max-width: 100%;
|
|
|
}
|
|
|
h1, h2, h3, h4, h5, h6 {
|
|
|
margin-top: 1.4em;
|
|
|
}
|
|
|
h5, h6 {
|
|
|
font-size: 1em;
|
|
|
font-style: italic;
|
|
|
}
|
|
|
h6 {
|
|
|
font-weight: normal;
|
|
|
}
|
|
|
ol, ul {
|
|
|
padding-left: 1.7em;
|
|
|
margin-top: 1em;
|
|
|
}
|
|
|
li > ol, li > ul {
|
|
|
margin-top: 0;
|
|
|
}
|
|
|
blockquote {
|
|
|
margin: 1em 0 1em 1.7em;
|
|
|
padding-left: 1em;
|
|
|
border-left: 2px solid #e6e6e6;
|
|
|
color: #606060;
|
|
|
}
|
|
|
code {
|
|
|
font-family: Menlo, Monaco, 'Lucida Console', Consolas, monospace;
|
|
|
font-size: 85%;
|
|
|
margin: 0;
|
|
|
}
|
|
|
pre {
|
|
|
margin: 1em 0;
|
|
|
overflow: auto;
|
|
|
}
|
|
|
pre code {
|
|
|
padding: 0;
|
|
|
overflow: visible;
|
|
|
overflow-wrap: normal;
|
|
|
}
|
|
|
.sourceCode {
|
|
|
background-color: transparent;
|
|
|
overflow: visible;
|
|
|
}
|
|
|
hr {
|
|
|
background-color: #1a1a1a;
|
|
|
border: none;
|
|
|
height: 1px;
|
|
|
margin: 1em 0;
|
|
|
}
|
|
|
table {
|
|
|
margin: 1em 0;
|
|
|
border-collapse: collapse;
|
|
|
width: 100%;
|
|
|
overflow-x: auto;
|
|
|
display: block;
|
|
|
font-variant-numeric: lining-nums tabular-nums;
|
|
|
}
|
|
|
table caption {
|
|
|
margin-bottom: 0.75em;
|
|
|
}
|
|
|
tbody {
|
|
|
margin-top: 0.5em;
|
|
|
border-top: 1px solid #1a1a1a;
|
|
|
border-bottom: 1px solid #1a1a1a;
|
|
|
}
|
|
|
th {
|
|
|
border-top: 1px solid #1a1a1a;
|
|
|
padding: 0.25em 0.5em 0.25em 0.5em;
|
|
|
}
|
|
|
td {
|
|
|
padding: 0.125em 0.5em 0.25em 0.5em;
|
|
|
}
|
|
|
header {
|
|
|
margin-bottom: 4em;
|
|
|
text-align: center;
|
|
|
}
|
|
|
#TOC li {
|
|
|
list-style: none;
|
|
|
}
|
|
|
#TOC ul {
|
|
|
padding-left: 1.3em;
|
|
|
}
|
|
|
#TOC > ul {
|
|
|
padding-left: 0;
|
|
|
}
|
|
|
#TOC a:not(:hover) {
|
|
|
text-decoration: none;
|
|
|
}
|
|
|
code{white-space: pre-wrap;}
|
|
|
span.smallcaps{font-variant: small-caps;}
|
|
|
span.underline{text-decoration: underline;}
|
|
|
div.column{display: inline-block; vertical-align: top; width: 50%;}
|
|
|
div.hanging-indent{margin-left: 1.5em; text-indent: -1.5em;}
|
|
|
ul.task-list{list-style: none;}
|
|
|
.display.math{display: block; text-align: center; margin: 0.5rem auto;}
|
|
|
</style>
|
|
|
</head>
|
|
|
<body>
|
|
|
<p><a
|
|
|
href="https://pzwiki.wdka.nl/mediadesign/Radio_WORM:_Protocols_for_Collective_Performance#Monday_21_October"
|
|
|
class="uri">https://pzwiki.wdka.nl/mediadesign/Radio_WORM:_Protocols_for_Collective_Performance#Monday_21_October</a></p>
|
|
|
<h2 id="plan">Plan</h2>
|
|
|
<ul>
|
|
|
<li>Review of the reading (<a
|
|
|
href="https://hub.xpub.nl/bootleglibrary/book/789">Bellos in Mainframe
|
|
|
Experimentalism</a>)</li>
|
|
|
<li>Some Examples</li>
|
|
|
<li>An (off-screen) Exercise</li>
|
|
|
</ul>
|
|
|
<h2 id="oulipo">Oulipo</h2>
|
|
|
<ul>
|
|
|
<li>https://oulipo.net/</li>
|
|
|
<li>https://oulipo.net/fr/contraintes/s7</li>
|
|
|
</ul>
|
|
|
<h2 id="who-are-the-women-of-oulipo-a-constraint">Who are the Women of
|
|
|
Oulipo? (a constraint ;)</h2>
|
|
|
<p>In revisiting the history of Oulipo, it’s useful to consider this
|
|
|
article by Sarah Coolidge that explores the question: <a
|
|
|
href="https://www.catranslation.org/feature/who-are-the-women-of-oulipo/">Who
|
|
|
Are the Women of Oulipo?</a></p>
|
|
|
<p>BUT the broken links are quite numerous and tragic…</p>
|
|
|
<p>For instance this page:</p>
|
|
|
<ul>
|
|
|
<li><a
|
|
|
href="http://www.cipmarseille.fr/pop_documents_liens.php?id=985&type_proprio=1&gestion=E"
|
|
|
class="uri">http://www.cipmarseille.fr/pop_documents_liens.php?id=985&type_proprio=1&gestion=E</a></li>
|
|
|
</ul>
|
|
|
<p>has audio links, which themselves need repair:</p>
|
|
|
<ul>
|
|
|
<li><a
|
|
|
href="https://archive.cipmarseille.fr/documents/448_20090613131151.mp3"
|
|
|
class="uri">https://archive.cipmarseille.fr/documents/448_20090613131151.mp3</a></li>
|
|
|
<li><a
|
|
|
href="https://archive.cipmarseille.fr/documents/17_20061020144007.mp3"
|
|
|
class="uri">https://archive.cipmarseille.fr/documents/17_20061020144007.mp3</a></li>
|
|
|
<li><a
|
|
|
href="https://archive.cipmarseille.fr/documents/890_20121005183822.mp3"
|
|
|
class="uri">https://archive.cipmarseille.fr/documents/890_20121005183822.mp3</a></li>
|
|
|
</ul>
|
|
|
<p>A quick summary (with repaired links):</p>
|
|
|
<ul>
|
|
|
<li>Michèle Métail, a collection of whoms constrained poems appear <a
|
|
|
href="https://www.poetryinternational.com/en/poets-poems/poets/poet/102-2044_Metail">in
|
|
|
translation</a> online.</li>
|
|
|
<li>Michelle Grangaud, who worked with palindromes and anagrams, and
|
|
|
developed a constraint called <a
|
|
|
href="https://oulipo.net/fr/contraintes/poeme-fondu">poème fondu</a>, in
|
|
|
which one poem is “whittled down into another poetic form (for example
|
|
|
haiku), using only words from the original”.</li>
|
|
|
<li>Anne Garréta’s <a
|
|
|
href="https://www.goodreads.com/book/show/23129715-sphinx">Sphinx</a>
|
|
|
(<a
|
|
|
href="https://kenyonreview.org/reviews/sphinx-by-anne-garreta-738439/">a
|
|
|
review</a>), a romantic novel between two characters that avoides
|
|
|
explicit gendering of its protagonists.</li>
|
|
|
<li>Valérie Beaudouin’s <a
|
|
|
href="https://academic.oup.com/dsh/article-abstract/11/1/23/969581?redirectedFrom=fulltext&login=false">Metrometer</a>,
|
|
|
a method</li>
|
|
|
<li>Michèle Audin’s <a
|
|
|
href="https://www.goodreads.com/book/show/26196054-one-hundred-twenty-one-days">One
|
|
|
Hundred Twenty-One Days</a>, that traces Mathematicians lives through
|
|
|
World War I and II.</li>
|
|
|
</ul>
|
|
|
<h2 id="oulipo-zines">Oulipo <em>zines</em></h2>
|
|
|
<h2 id="algorithm">Algorithm</h2>
|
|
|
<p>N+7 is useful as an example of an <em>algorithm</em>.</p>
|
|
|
<p><img src="A_Computer_Glossary-Algorithm.png" /></p>
|
|
|
<h2 id="n7">N+7</h2>
|
|
|
<p><a href="http://www.spoonbill.org/n+7/"
|
|
|
class="uri">http://www.spoonbill.org/n+7/</a></p>
|
|
|
<p>Let’s feed the first paragraph of <a
|
|
|
href="https://www.catranslation.org/feature/who-are-the-women-of-oulipo/">Who
|
|
|
are the Women of Oulipo</a> to get from:</p>
|
|
|
<blockquote>
|
|
|
<p>A major reason for their absence on your bookshelves is that, until
|
|
|
recently, hardly any works by the women of Oulipo had been published in
|
|
|
English translation. This phenomenon has only further entrenched the
|
|
|
notion that the world of literary rule-breaking is in fact a boys club,
|
|
|
that men alone are the pioneers at the frontier of literary
|
|
|
innovation.</p>
|
|
|
</blockquote>
|
|
|
<p>to surprisingly suggestive and critical (n+1)</p>
|
|
|
<blockquote>
|
|
|
<p>A major-domo reasoning for their absentee on your bookshelves is
|
|
|
that, until recently, hardly any workshop by the womanizers of Oulipo
|
|
|
had been published in English translator. This phial has only further
|
|
|
entrenched the nought that the worm of literary ruler-breaking is in
|
|
|
faction a boycotts clubhouse, that manacles alone are the pips at the
|
|
|
frontiersman of literary innovator.</p>
|
|
|
</blockquote>
|
|
|
<p>to absurd (n+7)</p>
|
|
|
<blockquote>
|
|
|
<p>A malady rebound for their abyss on your bookshelves is that, until
|
|
|
recently, hardly any worship by the woodcutters of Oulipo had been
|
|
|
published in English transporter. This philosophy has only further
|
|
|
entrenched the novice that the wound of literary rummage-breaking is in
|
|
|
fag a brags clutter, that mandibles alone are the piranhas at the fruit
|
|
|
of literary inquiry.</p>
|
|
|
</blockquote>
|
|
|
<h2 id="sources">Sources</h2>
|
|
|
<ul>
|
|
|
<li><a href="https://wordnet.princeton.edu/">Wordnet</a></li>
|
|
|
<li><a href="https://gutenberg.org/">Project Gutenberg</a></li>
|
|
|
</ul>
|
|
|
<h2 id="examples">Examples</h2>
|
|
|
<ul>
|
|
|
<li><a href="https://github.com/antiboredom/audiogrep">audiogrep</a> /
|
|
|
<a href="https://antiboredom.github.io/videogrep/">videogrep</a> and the
|
|
|
TED Super cuts</li>
|
|
|
<li>Perec observations see <a
|
|
|
href="https://ubu.com/sound/perec.html">ubuweb</a></li>
|
|
|
<li>Anne-James Chaton see <a
|
|
|
href="https://video.constantvzw.org/vj12/.index/AnneJamesChaton-performance.ogv/play.mp4">vj12
|
|
|
performance</a>, or</li>
|
|
|
<li><a
|
|
|
href="https://www.cartoonbrew.com/cgi/max-headroom-and-the-strange-world-of-pseudo-cgi-82745.html">Max
|
|
|
Headroom and the strange world of pseudo-CGI</a></li>
|
|
|
<li><a href="https://www.decontextualize.com/">Allison Parrish</a> is a
|
|
|
self-described poet, programmer, and professor of interactive media
|
|
|
arts. Her work often contains examples of code and libraries that
|
|
|
resonate with many of the protocols from Die Maschine, and the
|
|
|
techniques of Oulipo.</li>
|
|
|
</ul>
|
|
|
<h2 id="unknown-unknowns">Unknown Unknowns</h2>
|
|
|
<p>Self-publishing project + publications from Angie Waller</p>
|
|
|
<p><a href="https://www.unknownunknowns.org/"
|
|
|
class="uri">https://www.unknownunknowns.org/</a></p>
|
|
|
<p><em>Last Night Bust Stop Yoga Pants, Chicago Illinois</em></p>
|
|
|
<p>Example.</p>
|
|
|
<h2 id="epicpedia">Epicpedia</h2>
|
|
|
<p><a href="epicpedia_2024_notes.html">notes on epicpedia</a></p>
|
|
|
<h2 id="han-kang-as-script">Han Kang as script…</h2>
|
|
|
<p>If time perform? or just read.</p>
|
|
|
<h2 id="rhetorical-space">Rhetorical Space</h2>
|
|
|
<p>Lorraine Code, Rhetorical Spaces, Essays on Gendered Locations
|
|
|
(1995)</p>
|
|
|
<p>(via a citation from Hope Olson, Mapping beyond Dewey’s Boundaries,
|
|
|
Constructing Classificatory Space for Marginalized Knowledge Domains,
|
|
|
published in Library Trends, 1998)</p>
|
|
|
<blockquote>
|
|
|
<p>Rhetorical spaces… are fictive but not fanciful or fixed locations,
|
|
|
whose (tacit, rarely spoken) territorial imperatives structure and limit
|
|
|
the kinds of utterances that can be voiced within them with <strong>a
|
|
|
reasonable expectation of uptake and “choral support”: an expectation of
|
|
|
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="exercise">Exercise</h2>
|
|
|
<p>As a group: choose a text (Women of Oulipo, TOS, Definition of
|
|
|
Rhetorical Space?)</p>
|
|
|
<p>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.</p>
|
|
|
<h2 id="exercises-for-over-break">Exercises for over break</h2>
|
|
|
<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>Would be good to visit each to find a suitable project, make sure
|
|
|
good resources are available.</p>
|
|
|
<p>?>?</p>
|
|
|
<ul>
|
|
|
<li>https://developer.mozilla.org/en-US/docs/Web/JavaScript</li>
|
|
|
</ul>
|
|
|
<p><a
|
|
|
href="https://jsbin.com/help/running-a-local-copy-of-jsbin/">Install our
|
|
|
own jsbin?</a></p>
|
|
|
</body>
|
|
|
</html>
|