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<title>2024-10-21-SI25-NOTES</title>
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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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<li>An (off-screen) Exercise</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>In Oulipo, their <em>protocols</em> are defined as
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<em>constraints</em>,<br />
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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>La Disparation (A Void in English), by Georges Perec</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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<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><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>In revisiting the history of Oulipo, it’s useful to consider this
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article by Sarah Coolidge that explores the question: <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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<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="sources">Sources</h2>
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<ul>
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<li><a href="https://wordnet.princeton.edu/">Wordnet</a></li>
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<li><a href="https://gutenberg.org/">Project Gutenberg</a></li>
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</ul>
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<h2 id="examples">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 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
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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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<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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</ul>
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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="epicpedia">Epicpedia</h2>
|
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<p><a href="epicpedia_2024_notes.html">notes on epicpedia</a></p>
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<h2 id="han-kang-as-script">Han Kang as script…</h2>
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<p>If time perform? or just read.</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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(1995)</p>
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<p>(via a citation from Hope Olson, Mapping beyond Dewey’s Boundaries,
|
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Constructing Classificatory Space for Marginalized Knowledge Domains,
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published in Library Trends, 1998)</p>
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<blockquote>
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<p>Rhetorical spaces… are fictive but not fanciful or fixed locations,
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whose (tacit, rarely spoken) territorial imperatives structure and limit
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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
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where the very possibility of an utterance counting as “true-or-false”
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or of a discussion yielding insight is made manifest. Some simple
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examples will indicate what I mean the term to achieve….</p>
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<p>Imagine trying to make a true statement about whether it is more
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convenient to fly into Newark or La Guardia airport in the year 1600.
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<strong>The statement would not be false but meaningless</strong>: it
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could neither be true nor false within the available discursive
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possibilities. Or imagine trying to have a productive public debate
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about abortion in the Vatican in 1995, where there is no available
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rhetorical space, not because the actual speech acts involved would be
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overtly prohibited, but because the available rhetorical space is not
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one where ideas on such a topic can be heard and debated openly,
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responsively…</p>
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<p>What I want this terminology <a href="#rhetorical-space">rhetorical
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space</a> to do [is], namely to deflect the focus of philosophical
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analysis <strong>away from single and presumably self-contained
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propositional utterances pronounced by no one in particular and as
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though into a neutral space</strong>; and to <strong>move it into
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textured locations where it matters who is speaking and where and why,
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and where such mattering bears directly upon the possibility of
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knowledge claims, moral pronouncements, descriptions of “reality”
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achieving acknowledgment</strong>, going through. Often in such spaces
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discourse becomes a poiesis, a way of representing experience, reality,
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that remakes and alters it in the process. And the making is ordinarily
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a communal process, dependent for its continuance on receptive
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conditions, on engaged responses both favourable and critical. (p. x
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)</p>
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</blockquote>
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<h2 id="why-constraints">Why Constraints?</h2>
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<p>Each constraint (or freedom), determines a rhetorical space, of
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possible meaning, but which also determines the kinds of collaboration
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that can (and should) take place within it.</p>
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<h2 id="exercise">Exercise</h2>
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<p>As a group: choose a text (Women of Oulipo, TOS, Definition of
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Rhetorical Space?)</p>
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<p>Starting in pairs, develop some protocols/algorithms to treat the
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chosen text. Perform your algorithm <em>by hand</em> (or <em>on
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paper</em>) – ie not with code.</p>
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<h2 id="exercises-for-over-break">Exercises for over break</h2>
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<ul>
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<li>Metronome (could work with just an audio tag, webaudio api and/or
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libraries like tonejs or pizzicato).</li>
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<li>n+7 generator</li>
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</ul>
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<p>Would be good to visit each to find a suitable project, make sure
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good resources are available.</p>
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<p>?>?</p>
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<ul>
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<li>https://developer.mozilla.org/en-US/docs/Web/JavaScript</li>
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</ul>
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<p><a
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href="https://jsbin.com/help/running-a-local-copy-of-jsbin/">Install our
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|
|
own jsbin?</a></p>
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</body>
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</html>
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