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The Community and the Algorithm a Digital Interactive Poetics

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The Community and the Algorithm a Digital Interactive Poetics The Community and the Algorithm A Digital Interactive Poetics Edited by Andrew Klobucar New Jersey Institute of Technology Series in Creative Writing Studies Copyright © 2021 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200 C/Sancti Espiritu 17, Wilmington, Delaware, 19801 Malaga, 29006 United States Spain Series in Creative Writing Studies Library of Congress Control Number: 2021936400 ISBN: 978-1-62273-959-2 Cover design by Vernon Press. Cover image by Garik Barseghyan from Pixabay. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents List of Figures and Tables v Foreword vii Acknowledgements ix Introduction. The Community and the Algorithm: A Digital Interactive Poetics xiii Andrew Klobucar New Jersey Institute of Technology Part I. Foundations 1 Chapter 1 Wreadings: Digital Poetry and Collaborative Practice 3 Rui Torres University Fernando Pessoa, Portugal Daniela Côrtes Maduro University of Coimbra, Portugal Chapter 2 Community Code: A thing, something, everything and nothing 27 Taeyoon Choi School for Poetic Computation Chapter 3 Cicada 41 Charles Baldwin Independent Scholar Part II. From the Hive to the Classroom 55 Chapter 4 Digital Swarm Techniques: A Case Study to Teach Digital Collaboration and Disrupt Power Structures in Education 57 Maria Aladren MCVTS Theatre High School Chapter 5 Maker Generation? The Uncertain Future of Students as Interactive Storytellers 73 Anastasia Salter University of Central Florida Chapter 6 Netprov: Collaborative, Online Roleplay as Art Form 87 Rob Wittig University of Minnesota Part III. Interactivity in Action: Current Case Studies 99 Chapter 7 Text Sonification and the Literacoustics of Language-to-MIDI 101 Kedrick James, Esteban Morales, Rachel Horst, and Effiam Yung University of British Columbia, Vancouver Chapter 8 The GTR Language Workbench: A History of Creative Computational Collaboration 127 Sharla Sava IBM Chapter 9 I Am Afraid: Voice as Sonic Sculpture 141 Maria Lantin and Simon L. Overstall Emily Carr University Chapter 10 Afterwords: As We May Enact 155 Anna Nacher Jagiellonian University, Poland Author Bios 165 Index 169 List of Figures and Tables List of Figures Figure 2.1. The Technical Object. Taeyoon Choi, Layers of computing #1, Digital illustration, 2019. 31 Figure 2.2. The Technical Object Abstracted. An illustration of technical objects in abstracted form. Electricity, for computers, is like the core of the Earth. It’s existence and change of state is essential in making everything else exist. The binary state of on and off is like the existential state of being and non-being. In a similar way that the Zero and One are the foundation of most of the computers today built on Binary logic gates, computers scale to an abstraction machine based on Von Neuman architecture. Taeyoon Choi, Layers of computing #2, Digital illustration, 2019. 32 Figure 4.1. Tryptic’s Feeder in the current website version. 64 Figure 4.2. Solo Writing portion of Tryptic. 65 Figure 4.3. Swarming in the third part of Tryptic. 66 Figure 4.4. First attempt at Swarm-up by a group of five adults. 67 Figure 7.1. Graphical user interface of Singling version 0.4. 111 Figure 7.2. Alphabetic string as it corresponds to the overtone series represented as wavelength. Note that overtone series also applies to words according to the LGCs. 112 Figure 7.3. Transformation dialog box where each instance of LGC 12 increments tempo by 15 BPM. 113 Figure 8.1. David and Andrew’s workspace at The Banff Centre (July 2004) Photo: David Ayre (used with permission). 131 Figure 8.2. GTR Language Workbench (beta) circa 2012. Photo: Chris Funkhouser (used with permission). 134 Figure 8.3. David Ayre (left) and Andrew Klobucar (right) presenting at CCCC (Kansas City, Missouri, March 2018) Photo: Sharla Sava (used with permission). 136 Figure 9.1. Cloud Opera performance in Manipulation digital puppetry piece presented at the Vancouver Fringe Festival, 2016. Words appear on the screen after being spoken and can be interacted with a motion-tracked stick. In this figure, the character on the right of the image has the stick which can play back the word “Tadaa” on the screen (Photo by Alan Goldman, © Maria Lantin). 142 Figure 9.2. Performance with I Am Afraid VR App. Maria Lantin speaking at TEDxECUAD and performing with the VR application I Am Afraid . March 2017 (Lantin) (Photo by Jerez Challenger on tedxecuad flickr, CC BY-NC-ND 2.0). 143 Figure 9.3. Screenshot of participants in VR application I Am Afraid Participants in the networked multi-user VR application are represented as masks akin to neurons. 144 Figure 9.4. Screenshot of I Am Afraid , VR Edition. The words and objects highlighted in yellow are looping on a custom path. The red spheres are following the path. 145 Figure 9.5. Screenshot of the Virtual Application, I Am Afraid . A series of phrases and sounds on the topic of fear were recorded and placed in the virtual space. Each is embedded with the sound of the recording and can be reperformed. 147 Figure 9.6. A performance about building houses made of words made of houses made of sounds. 148 Figure 9.7. Documentation of Tangles and Bloom performance in May 2018, Montréal, QC. The two performers are in headsets with a VR version of the dome that includes interface elements to modify the dome show for the audience. In the later stages of the animation, the performers add words based on the poem to the dome and play them back (Photo by Tom Kuo, used with permission). 149 List of Tables Table 7.1. LGCs in the database of Singling, modified from “LexNames”. Fields highlighted in blue means that these LGCs were modified by the authors, and fields highlighted in red were added. 110 Table 7.2. Transformational features and their parameters in Singling. 113 Table 7.3. MIDI Transformation types and parameters in Singling. 116 Foreword What is this book about? Ostensibly, computation and collaborative writing . Esoterically? Collective embodiment. What is at stake here? Digital learning. Poetics. Possibly, the biosphere and humanity. What is key? Collaborating in untidy unity, with algorithms of cooperation, as the only path open, if sapiens is to survive and the Anthropocene is to be evaded. Algorithms as communities. Society as play. Poetry as medicine. Learning as sharing. Inclusive creative education: hacks, tips, tools, suggestions, and possibilities for optimizing literary life . Community: ‘care, accountability, and stewardship’. Succinctly? Pedagogical Fluxus networked collaborative coded living systems communicating telepathic transparent creative, compassionate trust. That potential is the unanswered hope of techno-utopianism. Hybrid honey, hive mind. Begin (as Andrew Klobucar - who has shepherded this compilation - states) building an effective set of critical tools to help us engage, create, and dispute within a cybernetic state of unprecedented singularity. Reimagine the literary classroom as a community inclusive of corporal and computational entities. Consider swarm pedagogy , bots of humanist resistance ; netprov (inter net im prov isations) binge play ; trans-mediated text-sonification ; intimate readings of digital poetics; pathways from satire to software ; three-dimensional textual objects in voice-activated VR; and a move beyond zoom into open source collaborative thinking-writing . Each of the projects outlined/analyzed in this book originated from a collective, a cluster, a community; each was built using tools/code created by immense corporations and/or crowds. Every single cultural artefact, scientific theory or technological achievement is a composite . Just as our bodies are teeming modular repositories, so too are our digital tools. So too is language, a symbolic estuary of innovative impulses and ancient pressures; it carries us from isolated subjectivity into oceanic awareness; teaching emerges from its continuum. Set aside career competition, it’s time for new paradigms: cooperatism, collaboratism. Composites require collaborative sharing. Poetic permeability. Creative pedagogy is a crucial component in gestating a global civilization capable of recognizing earth (all its peoples, organisms, ecosystems and technologies) as a single cognitive-cardiac community circuit. viii Foreword What if education were recognized as a public utility, a legally protected epistemological ecosystem implemented as open-source open-access non- profit github-wikipedia-etherpads? A version server of knowledge freely available, thriving with joyful contributions? Then perhaps society might avoid replicating old oligarchic hierarchical patterns of status and evolve altruistic shared repositories of luminous evolving helpful open-data. Implicit within the notion of a Community Algorithm is a tension between crowds, computation, caring and critique. Critique originated as an unwillingness to be complicit (with corporations, branding, regimes, ideologies, hegemonies, etc.). Caring constitutes an empathic response, a shared vulnerability. Computation is communicative and analytic sinew. Connecting these threads, inviting crowds of readers, constitutes a relevant attempt to ensure that literature and literary education remains relevant and nourishing. This epithet was written in spring 2021, as trillions of brood X cicadas emerged (distinct from the enigmatic internet Cicada 3301: an edge of the field where the cicadas are silent, latent, timing us ).
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