Date: 6 May 2003 09:45:07 -0000 From: ringo55@illegal.de To: Subject: =?ISO-2022-JP?B?GyRCIVo2WzVeRkM9OCFbPXckLDVhGyhC?= $B=w$NM_K>$O!"CK$,9M$($k$h$j$O$k$+$K6/$$(B!! $B$$$^!"=w$?$A$O!HFs$D$N?M@8!I$r@8$-$F$$$^$9!#(B $BCK$?$A$O=w$N%(%C%A$NM_K>$rK~B-$5$;$k6/$5$r(B $B$b$D$HF1;~$K%3%3%m$rK~$?$7!"L~$9B8:_$K(B $B$J$i$J$1$l$P$J$i$J$j$^$;$s!#(B $B5.J}$@$1$KCK$NCN$i$J$$=w$NG.$$BN$H?4$NHkL)$r65$($^$9!#(B $B>\$7$/$O2<5-$r%/%j%C%/(B!! http://kameatama.net/meetsh1/ $B=w$N?4$HBN$r;W$$DL$j$K$7$F$_$^$;$s$+!#!#!#(B *$B:G6a$$$?$:$i$,B?$$$h$&$G$9!#(B $B:#8e!"J@$5$l$J$$>l9g$O!"(B $B@?$K62$lF~$j$^$9$,!"7oL>$r6uMs$N$^$^JV?.$7$F$/$@$5$$!#(B $B!VAw?. Subject: lok33! To: WRYTING-L@LISTSERV.UTORONTO.CA lok33! #!/uzr/lokl/bO!On/prl5 whO!Ole () { z/vel/lv/g; z/veL/Lv/gO!O; z/(\UU)z([aeO!Oou!])/1tz2/g; z/B([e]*[^aeO!Oou!][aeO!Oou!])/B1/g; z/b([e]*[^aeO!Oou!][aeO!Oou!])/b1/g; z/B[e]+(\UU)/B1/g; z/b[e]+(\UU)/b1/g; z/EEK(\UU)/sz1/g; #z/ek[]/sz1/g; #z/([^aeO!Oou!][^aeO!Oou!])e(\z)/12/g; #z/([^aeO!Oou!])e([^aeO!Oou!][^aeO!Oou!])/12/g; z/ooh/o/g; z/([\UU]*)01(\UU)/1\\ooh\12/g; z/([\UU]*)K++(\UU)/1+2/g; z/([\UU]*)u(\UU)/1u2/g; z/([\UU]*)U(\UU)/1U2/g; z/([\UU]*)ru(\UU)/1r2/g; z/([\UU]*)ru(\UU)/1R2/gO!O; z/([\UU]*)ROBOT robot dzre(\UU)/1da2/g; z/([\UU]*)robot dzre(\UU)/1Da2/gO!O; z/([\UU]*)t[o]+(\UU)/1\22/gO!O; z/(\UU)uu/1u/g; z/(\UU)UU/1U/g; z/uu(\UU)/u1/g; z/UU(\UU)/U1/g; z/fato[u]*r/4/gO!O; z/[tk]O!Oon/zO!Oon/gO!O; z/([\UU]*)ru(\UU)/1=2/gO!O; z/([\UU]*)=(\UU)/1=2/gO!O; z/([\UU]*)= dzat(\UU)/1=2/gO!O; z/([\UU]*)uure(\UU)/1=2/gO!O; z/([\UU]*)uuaz(\UU)/1=2/gO!O; z/([\UU]*)=(\UU)/1=2/gO!O; z/[\UU +?/gO!O; z/l(\UU)/l1/g; z/uEEK/usz/g; z/l/l/g; z/z([^zh])/z1/g; z/Z([^ZH])/Z1/gO!O; z/-k/-k/g; z/k([O!Oe!])/z1/g; z/k/k/g; z/K/K/gO!O; z/th([aeO!Oou!])/dz1/g; z/Th([aeO!Oou!])/Dz1/gO!O; z/k/k/g; z/K/K/gO!O; z/tr/tr/g; # O!O rulez z/O!On([de])/9n1/gO!O; z/O!O/!/gO!O; z/!([\UU])/!1/gO!O; # voom! rulez z/voom!(\UU)/v1/g; z/VOOM!(\UU)/V1/g; z/voom!/f/g; z/r/r/g; z/(\UU)f/1voom!/g; z/\\([ooh-9])/1/g; z/z[e][ea](\UU)/z1/g; z/kx/kkx/g; z///g; prO!Ont $_; } #!/uzr/lokl/b!n/prl5 wh!le () { z/lv/vel/g; z/Lv/veL/g!; z/(\U)z([ae!ou!])/1TAZ2/g; z/B([e]*[^ae!ou!][ae!ou!])/BOO1/g; z/b([e]*[^ae!ou!][ae!ou!])/OOP1/g; z/B[e]+(\U)/B1/g; z/b[e]+(\U)/b1/g; z/sz(\U)/EEK1/g; #z/ek[]/eek1/g; #z/([^ae!ou!][^ae!ou!])e(\z)/12/g; #z/([^ae!ou!])e([^ae!ou!][^ae!ou!])/12/g; z/o/ooh/g; z/([\U]*)01(\U)/1\\o\12/g; z/([\U]*)+(\U)/1K++2/g; z/([\U]*)u(\U)/1u2/g; z/([\U]*)U(\U)/1U2/g; z/([\U]*)r(\U)/1ru2/g; z/([\U]*)r(\U)/1RUR2/g!; z/([\U]*)da(\U)/1ROBOT Da2/g; z/([\U]*)Da(\U)/1robot da2/g!; z/([\U]*)t[o]+(\U)/1\42/g!; z/(\U)u/1uu/g; z/(\U)U/1UU/g; z/u(\U)/u1/g; z/U(\U)/U1/g; z/fo[u]*r/4/g!; z/[tk]!on/trak|^shun/g!; z/([\U]*)r(\U)/1=2/g!; z/([\U]*)=(\U)/1=2/g!; z/([\U]*)= dzat(\U)/1=2/g!; z/([\U]*)ure(\U)/1=2/g!; z/([\U]*)uaz(\U)/1=2/g!; z/([\U]*)=(\U)/1=2/g!; z/[\U +?/g!; z/l(\U)/l1/g; z/usz/usz/g; z/l/l/g; z/z([^zh])/z1/g; z/Z([^ZH])/Z1/g!; z/-k/-k/g; z/k([!e!])/z1/g; z/k/k/g; z/K/K/g!; z/th([ae!ou!])/dz1/g; z/Th([ae!ou!])/Dz1/g!; z/k/k/g; z/K/K/g!; z/tr/tr/g; # ! rulez z/!n([de])/9n1/g!; z/!/O!O/g!; z/!([\U])/!1/g!; # v rulez z/v(\U)/voom!1/g; z/V(\U)/VOOM!1/g; z/v/fat/g; z/r/r/g; z/(\U)f/1v/g; z/\\([o-9])/1/g; z/z[e][ea](\U)/z1/g; z/kx/kkx/g; z///g; pr!nt $_; } ___ From: To: <_arc.hive_@lm.va.com.au> Subject: in a simple philip -ick Date: Fri, 9 May 2003 01:11:15 -0400 (EDT) using System; namespace OurHours { class IamHere { public void Being() { Console.WriteLine("I am almost sure of it"); } public int WeAre; public int HowManyOfUs(int WeReachOut) { this.WeAre=WeReachOut; return WeReachOut; } } class MainExistenze { public static void main(String[] args) { IamHere IamToday=new IamHere(); int allOfUs=IamToday.HowManyOfUs(1000000); if (allOfUs==IamToday.WeAre) { IamToday.Being(); } } } } Date: Sat, 03 May 2003 17:48:48 +0200 From: Maurizio Mariotti To: CYBERMIND@LISTSERV.AOL.COM Subject: Test Shows 99.99% of High School Seniors Can't Read Perl . Test Shows 99.99% of High School Seniors Can't Read Perl San Francisco, CA - Recent results from the standardized Perl Fluency Test showed that 99.99% of US high school seniors can't read Perl. This disturbing statistic shows that American students are painfully unprepared for life after graduation. "This shows that there is a real need for a Perl Monk in every classroom," said Perl Monk Kelly Adrity. "We've got computers in every classroom, now we need our kids to be able to use them, and what better way to learn about computers than to learn how to read and write in Perl. I'm glad the budget proposed by President Bush sets aside millions for Perl Monks. America will lead the way in Perl literacy." The four hour test had 2 sections, a simple translation section and a project section. The first part asked students to translate easy Perl phrases into their standard English equivalent, and the second section required students to produce a simple MP3 player in Perl. "I didn't know what the hell any of it meant," said one Senior, "it had lots of slashes and periods and brackets. It was so confusing. I'm feeling rather nauseous." Perl experts were astounded by the results. "I was amazed that none of the students were able to read this simple sentence: $_='while(read+STDIN,$_,2048){$a=29;$c=142;if((@a=unx"C*",$_) [20]&48){$h=5;$_=unxb24,join"",@b=map{xB8,unxb8,chr($_^$a[--$h+8 4])} @ARGV;s/...$/1$&/;$d=unxV,xb25,$_;$b=73;$e=256|(ord$b[4])<<9|ord $b[3]; $d=$d>>8^($f=($t=255)&($d>>12^$d>>4^$d^$d/8))<<17,$e=$e>>8^($t& ($g=($q=$e>>14&7^$e)^$q*8^$q<<6))<<9,$_=(map{$_%16or$t^=$c^= ($m=(11,10,116,100,11,122,20,100)[$_/16%8])&110;$t^=(72,@z=(64,7 2,$a^ =12*($_%16-2?0:$m&17)),$b^=$_%64?12:0,@z)[$_%8]}(16..271))[$_]^ (($h>>=8)+=$f+(~$g&$t))for@a[128..$#a]}print+x"C*",@a}';s/x/pack +/g;eval I mean, come on, that's so easy," said Paul Chen, Chairman of the Learn Perl or Die Association, which administered the test nationwide. "Teachers need to start with simple phrases like $RF=~tr/A-Z/a-z/; and work up from there. We really need to start teaching this in first grade if kids are ever going to understand this by high school." Not everyone shared Mr. Chen's view about the necessity of adding Perl to early elementary curricula. Programmers Against Perl (PAP) spokesperson, Keith Willingham said, "There's no better way to scare students away from computers than exposing them to Perl. Even experienced programmers are frightened and confused by it. The Perl lobby is just getting too powerful, and they need to be stopped." (BBspot LLC) . From: Alan Sondheim To: _arc.hive_@lm.va.com.au Subject: rainy day in unixville Date: Sun, 4 May 2003 17:52:35 -0400 (EDT) rainy day in unixville MMMMMMMM[1;24r[H[H[24;37H[2;18H-[3;17H/ \[4;16H| O |[5;17H\ /[6;18H-[6;43H-[7;42 H|.|[7;75H.[8;43H-[11;18H[K[12;17H[K[13;18H[K[15;36HO o [K[23;36H[K[24;55H[2; 18H[K[3;17H[K[4;16H[K[5;17H [5;43H-[6;18H [6;42H/ \[6;74H.[7;41H| O |[7;75Ho[8 ;42H\ /[9;43H-[14;36H-[15;35H|.| O[16;36H-[6;19H[5;43H[K[6;42H [6;74Ho[7;41H [7;75HO[8;42H[K[9;43H[K[13;36H-[14;35H/ \ -[15;34H| O ||.|[16;35H\ / -[17; 18H.[17;36H-[9;44H[6;74HO-[7;74H|.|[8;75H-[13;36H -[14;17H.[14;35H / \[15; 34H O |[16;35H \ /[17;18Ho[17;36H [5;74H--[6;73H|/ \[7;73H| O |[8;74H\ / [9;75H-[11;48H.[13;40H[K[14;17Ho[14;39H[K[15; 40H[K[16;39H[K[17;18HO[17;40H[K [4; 74H-[5;73H/ [6;72H|[K[7;73H[K[8;74H[K[9;75H[K[11;48Ho[14;17HO[16;18H-[17;17H|.| [18;18H-[21;19H.[9;76H[4;74H[K[5;73H[K[6;72H[K[11; 48HO[13;17H-[14;16H|.|[15;17H- -[15;47H.[16;17H/ \[17;16H| O |[18;17H\ /[19;18H-[21;19Ho[8;75H[4;8H.[10;48H-[11 ;47H|.|[12;17H-[12;48H-[13;16H/ \[14;15H| O |[15;16H\ [15;47Ho[16;17H[K[17;16H[ K[18;17H[K[19;18H[K[21;19H[A[A[4;8Ho[9;48H-[10;47H/ \[11;13H.[11;46H| O |[12;17H [12;47H\ /[13;16H [13;48H-[14;15H[K[15;16H [15;47HO[20;19H-[21;18H|.|[22;19H- [16;18H[4;8HO[9;48H[K[10;47H[K[11;13Ho[11; 46H[K[12;47H[K[13;48H[K[14;47H-[15;46H |.| .[16;47H-[19;19H-[20;18H/ \[21;17H| O |[22;18H\ /[23;19H-[13;49H[3;8H-[4;7 H|.|[5;8H-[11;13HO[11;23H.[13;47H-[14;46H/ \[15;45H| O | o[16;46H\ /[17;47H-[19 ;19H[K[20;18H[K[21;17H[K[22;18H[K[23;19H[K [2;8H-[3;7H/ \[4;6H| O |[5;7H\ /[6;8H -[10;13H-[11;12H|.|[11;23Ho[12;13H-[13;47H[K[14;46H[K[15;45H O[16;46H[K[17 ;47H[K[22;46H.[17;48H[2;8H[K[3;7H[K[4;6H[K[5;7H[K[6;8H [6;28H.[9;13H-[10;12H/ \[ 11;11H| O | O[12;12H\ /[13;13H-[14;52H-[15;51H|.|[16;52H-[22;46Ho[6;9H[5;5 9H.[6;28Ho[9;13H[K[10;12H [10;23H-[11;11H |.|[12;12H [12;23H-[13;1 3H [13;52H-[14;51H/ \[15;50H| O |[16;51H\ /[17;52H-[22;46HO[13;14H[5;59Ho[6;28HO [8;14H.[9;23H-[10;22H/ \[11;21H| O ___ To: webartery@yahoogroups.com From: Alan Sondheim Date: Wed, 7 May 2003 12:05:49 -0400 (EDT) Subject: I, ROBOT I, ROBOT tzzzh/([\UtZzzhE-YOU]*)ROBOT robot Tho rnyornyornyornyornyornyornyornyornyorn yornyornyornyornyornyornYkoRpoRatee(\U tZzzhE-YOU)/1ROBOT robot Thornyornyorn yornyornyornyornyornyornyornyornyornyo rnyornyornyornYkoRpoRatee2/g; tzzzh/([\UtZzzhE-YOU]*)robot Thornyorn yornyornyornyornyornyornyornyornyornyo rnyornyornyornyornYkoRpoRatee(\UtZzzhE -YOU)/1robot ROBOT robot Thornyornyorn yornyornyornyornyornyornyornyornyornyo rnyornyornyornYkoRpoRatee2/gO!O; tzzzh/([\UtZzzhE-YOU]*)= Thornyornyorn yornyornyornyornyornyornyornyornyornyo rnyornyornyornYat(\UtZzzhE-YOU)/1=2/gO !O; tzzzh/th([aeO!Oou!])/Thornyornyornyorn yornyornyornyornyornyornyornyornyornyo rnyornyornYorn!1/g; tzzzh/Th([aeO!Oou!])/Thornyornyornyorn yornyornyornyornyornyornyornyornyornyo rnyornyorn!1/gO!O; ___ Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ Date: Sun, 4 May 2003 16:32:54 -0700 From: solipsis To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: L-System Pegasus L-System Pegasus # ---AirHorse 18 # recursion level 10 # basic angle 200 # starting thickness ^^^^^C # axiom #-------------------------------------- Creature C=LBW #-------------------------------------- Body B=[[''aH]|[g]] a=Fs+;'a # upper part g=Ft+;'g # lower part s=[::cc!!!!&&[FFcccZ]^^^^FFcccZ] # upper spikes t=[c!!!!&[FF]^^FF] # lower spikes #-------------------------------------- Lungs L=O # 8 recursions delay O=P P=Q Q=R R=U U=X X=Y Y=V V=[cc!!!&&&&&&&&&[Zp]|[Zp]] p=h>>>>>>>>>>>>h>>>>>>>>>>>>h h=[++++!F'''p] #-------------------------------------- Head H=[cccci[>>>>>dcFFF][<<<<>>!!cb]] b=Fl!+Fl+;'b # arc l=[-cc{--z++z++z--|--z++z++z}] #-------------------------------------- End @ From: svalvotajuklochywpy@lycos.com Date: Mon, 05 May 2003 15:42:02 -0500 To: cantsin@mail.zedat.fu-berlin.de Subject: ''ensimm{isen ADAC a-brac abazur

Date: Wed, 7 May 2003 12:33:40 -0400 (EDT) From: Alan Sondheim To: anna balint Subject: Re: Re: Dze Ztandard !nzkr!pz!on ------------=_1052325226-626-631 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN X-MIME-Autoconverted: from 8bit to quoted-printable by anart.no id h47GXkE03786 dear anna balint, For me the heart of this is your definition - generative and combinatory character - random and aleatory character - interactivity and my work certainly doesn't fall in these categories. The nearest would be the "generative character" - generated from an input text transformed through one or another text filter (in this case, perl). Some of the text= s are the application of a filter to itself recursively, F(F(F)) for example. In this sense, they could be hand-written and hand-substituted. But then, generative poetry is based on algorithms as well which could be reproduce= d by hand. I don't look at them as poetry, although others do. I see them as investi= - gations into language, into encoding, into the political economy of language, into the reception-structure and phenomenology of the reader, into the making and construction of sense. For this reason I'm also interested in the input of 'urgent texts' - I just sent the following in response to a query on webartery - "'urgent text' - which also relates to the pascal implementation of a program similar to sondheim.exe which I did in the 70s - a text which demands to be heard - a political text - a text whose desire or body pushes it forward - a text of discomfiture, dis/ease - as if language had/has that urgency in a state of deprivation - as in a site or situation of the political economy of language - language of the last cry for example - or a structure almost toppling, weathering - the language of the last syntax - the lost syntax - sartre's politics of scarcity - structure as well - exposure or duplication/shimmering of structure - its shuddering -" - in other words, the input text is critical. There _are_ interactive works - for example programs written in display o= n linux (display is a very very simple interfacing for text input etc.) - and I will give these programs to others for inputting/processing - the result, however, is then fixed. In this sense, the posted texts are similar to those of Mez and the materials from solipsis, etc., that are garnered for the Unstable Digest on Nettime, and fall under the aegis of codework. Here is an example that may clarify things - there is an essay in Classical Chinese called the 1000 Character Essay; each is different. It'= s a difficult text, and a friend of mine and I are slowly translating it. Anyway, I asked Florian Cramer, who is much more adept than I am at programming, if he could write a script that would take a text and have i= t do the same thing - i.e. each word would appear only once in the output. He did that, and later I also changed the script. But the original assign= s a different value to words than is usually the case - instead of numerous instances of each word, each word is unique, almost the way a person is unique. So the result is a different economy and aesthetics, and the resulting texts reflect that. I do consider these works art, but not necessarily independent art-works; the Internet Text as a whole is always in-process, in a making (one of th= e old Scottish words for 'poet' is 'makar'). Instead they're resonances for me, which can both stand on their own, or possess their own fit in the Text, which like Jabes' texts, seems to be interminable. And finally, it's the machine that fascinates me - protocols, languages, filterings, processes, operating systems, code in general - which underlies what we do, but is rarely brought to the surface. In my work, and the work of others, the surface and depths have an uneasy relationshi= p with each other - interpenetrating, confusing - almost as if the under- pinnings of culture - all that desire and rupture - appeared back on the surface, breaking through etiquette... Finally, finally, the mode of distribution - through email lists (not, in general, syndicate, of course, but webartery, Poetics, Imitationpoetics, arc, wryting, Cybermind), is an intrinsic part of the texts, which often play with the time of arrival, inbox placement, and so forth - Alan - On Wed, 7 May 2003, anna balint wrote: > dear Alan Sondheim, > > do you consider these transformation programs > art? Or you think that each text generated with it > - is an individual art piece? Or we should look to > you work as conceptual-or visual poetry? > > If i have to take a position, i prefer to think that > none of them is poetry. They don't fit > to any category with which i define computer poetry: > - generative and combinatory character > - random and aleatory character > - interactivity > > I understand that computer poetry involves the > charactersitics of the medium in the work, > and i don't treat separately each text > generated with the help of a program, > that would much limit the area of research, > but i consider the whole > program and texts as one work, to the degree > that i include ephemerality and irreproducibility > in the list of characteristics of computer poetry. > > Some works that inspire my criteria: > > 1959 Theo Lutz devolops a program on the computer of > the Technical Univeristy in Stuttgart that combined > 40 words and generates gramatically correct sentences > > 1959 Brion Gysin together with the mathematician > Ian Sommerville permute the words of his poem > 'I Am That I Am' with a computer, and > also in 1961 the poem 'Junk is No Good Baby' > > 1964 Jean A. Baudot publishes 'Machine a ecrire', > the first volume with poems generated on the > computer, at Les éditions du jour, Montréal > > 1965 Emmett Williams permuted on the computer > the 10 most used words of Dante's Divina Commedia > [occhi, mondo, terre, dio, maestro, ciel, mente, > dolce, amor] and genereted a 213 lines long litany > of them, and also in 1966 he generated a poem > with the title 'IBM' > > 1967 Baudot's book inspired Pierre Moretti to > present with his amateur theater company > Saltimbaques a theater piece generated on > computer. Baudot generated the text on the > basis of a vocabulary defined by Moretti. > They presented the piece with the title > 'Équation pour un homme actuel' in the > Pavillion de la Jeunesse in Quebec at the > Young Theater Festival. It became a scandal. > After the sixths show the Public Morals Department > of the Montreal Police accused the piece of > immorality and they banned the play. > [it was on stage on a boat in the port of Montreal, > but out of the Canadian juridictional waters, > to cover the expenses of the process] > > 1969 Svante Bodin, member of the Swedish group > KVAL generates a part of his work 'Transition to > Majorana Space' with a computer > > 1973 Richard W. Bailey edits the first anthology > of Computer Poems at Protagonnising Press, Michigan, > USA. The volume include 17 writers from Canada, > England, and USA, among others Marie Boroff, > Robert Gaskins, Louis T. Millic, Edwin Morgan, > John Morris, Archie Donald, Noreen Geend. > Edwin Morgan published already in 1967 in > Emmett Williams's anthology of Concrete Poetry > a poem composed on computer from 1963 with the > title 'jollymerry' (Concrete Poetry, Something > Else Press, 1967) > > 1975 > at the end of the sixties Raymond Queneau and > François Le Lyonnais found OULIPO, and their > first manifesto states that they plan to use > computers for reserach and generating texts. > Later among others Italo Calvino, Georges Perec, > Jacques Roubaud, Michèle Métail and Harry Mathews > joined the group. In 1975 Raymond Queneau publishes > his Cent mille milliards de poemes, and the OULIPO > presented the program developed for at Europalia > in Brussels. Readers were able to generate themselves > variants and print them. > > 1973 > in the beginning of the seventies Jean-Pierre Balpe, > Pierre Lusson and Jacques Rubaud founded the > literature research group Alamo, that studies and > generates computer literature. Jacques Rubaud constructed > numerous literary softwares, the most known > is 'Alexandrins artificiels', that generates infinite > number of perfect alexandrin verses. He introduced in > the computer several thousand words of classic literature, > but the verses that he generated did not cohere in a poem. > Rubaud composed together with Pierre Lussonnal and > Paul Braffort the plagiarist generators 'Rimbaudelaire' > and 'Mallarm'. Jean-Pierre Balpe is known for the his > orientation towards literary texts generated on natural > languages, his most famous generator is 'Poèmes d'amour' > that generates love lithanies and the '1536 peties contes > parfois tristes ou pervers' for which he introduced in the > computer 620 different structures and several thousand words. > He published 1536 variants of the tales that he selected > on the random basis out of the 10 on 45th power possible > variants. > > 1979 > Csaba Tubak launches at the meeting of the avantgarde paper > magazine Atelier Hongrois [Magyar Muhely] in Hadersdorf (Austria) > his 'Electronic Game and Tool for Writers'. This was a program > that generated randomly texts from the 12.000 words vocabulary and > texts of the avantgarde poet Alpar Bujdoso. Though the semantic > and grammatical variants of the generative process were controled > with algorythms, just as the surrelist poems, these texts could not > be described with criteria of lingustic competence, but with the > avantgarde view of the literature. > 1985 Tibor Papp presented in the Pompidou Center > 'Les très riches heures de l'ordinateur, n°1' - > the first dynamic computer generated visual poem > > 1989 Philippe Bootz, Jean-Marie Dutez, Frédéric de > Velaz, Claude Maillard, Tibor Papp found and edit Alire, > a magazine that publishes computer poetry only. It > appeared twice a year first on floppy, later on CD-ROM, > in the nineties several magazines started that were > possible to consult on electronic form only, > Jean-Pierre Balpe also started the Caos magazine. > > and the nineties... > > > greetings, > anna > > Alan Sondheim : > > > > > > > http://www.asondheim.org/ http://www.asondheim.org/portal/ http://www.anu.edu.au/english/internet_txt Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm finger sondheim@panix.com ------------=_1052325226-626-631 Content-Disposition: inline; filename="message-footer.txt" -----Syndicate mailinglist----------------------- Syndicate network for media culture and media art information and archive: http://anart.no/~syndicate to post to the Syndicate list: Shake the KKnut: http://anart.no/~syndicate/KKnut no commercial use of the texts without permission ------------=_1052325226-626-631-- Date: Mon, 5 May 2003 13:44:17 -0700 From: solipsis Subject: (noishard) To: WRYTING-L@LISTSERV.UTORONTO.CA (noishard) { Mzhejudg-zhejoll-MsheunactuactM [b-o/ro\r l(\e,p/-%lat me-/)k n\ilw/,-ay gr/(e\,-blit) sl,/up-m\%et f/u\l pf,l/\-id di\s/sn-er n\igl/(e,to-x v\iv)%r/-ed po/ll-%(i\du ju\tsta-p/)ped k\o-z/r e/r-t\ui (w-,e/l\f g%um/nic-k\u)gs (dert/st-\arf h,o/ol-ri\p %ti-lli/x\ux) na/be-rsm\a%er ul(-m/pre\sta) ga-ss/enfu,l(k\ret%s)-aw p/w-\a mi-m(ife/ve)rni\p,ple% ju-se/n\z lo-b(ic/rib%\i)bl,e de\tor-s/ooni fr-e(ti/n\es ni-h%i\lligo)b,/blers bu\s,ket%(w/hiv-spu)rn ke,/p-k lam/m(%-,uj\io unk-if\iufi)u/dor] } Date: Mon, 5 May 2003 10:25:18 -0700 From: MWP To: POETICS@LISTSERV.BUFFALO.EDU Subject: ANY TIME ANY PLACE (excerpt) Preliminary results of an experiment. (Not to be taken as a finished work.) Commentary of any sort is welcome. 0 1 2 3 4 5 6 7 012345678901234567890123456789012345678901234567890123456789012345678901 oh oh =AD =AD =AD =AD =AD oh =AD oh oh oh oh oh oh God oh God oh oh oh oh oh oh oh oh oh =AD oh =AD oh oh John here hurry began to work oh John =AD to enjoy John oh oh to leave hurry man a branch sapling off spot her foot only her head while his body she kept wasn't active her main suddenly already clasped the same he tried over her breasts and felt a minute to leave for both her hand and left the bank to plunk her hand reaching her lips a strand the pool his mind of Irish to laugh posing Darrow his face casually man off he moved her lose =AD =AD to enjoy her legs hers wave the same to run =AD oh to stay here just =AD not in the water! oh =AD her =AD to enjoy waves oh =AD to enjoy John hers the same oh oh to leave for both her hand and left man off he moved her lose water until his body she kept as best concern suddenly her eyes not here to enjoy her legs the same he tried it again he began and felt a minute to leave for both her hand and left the bank to plunk her hand reaching her lips ever hair the pool his mind oh oh to leave for both with the buttons reaching began knelt the pool his mind man off he moved her lose her foot his body she kept her main suddenly and she shrieked her =AD waves the same he tried =AD =AD to enjoy her legs God man a branch but firm where she landed to fight oh oh to leave for both began knelt the pool his mind of Irish to laugh her hips his face casually turned it off bastard! a branch off how he moved her lose =AD =AD to enjoy her legs hers wave came soon over her breasts wave John a minute to leave for both her hand and left the bank to plunk her hand reaching her lips a strand Darrow deeply his mind of Irish man off he moved her lose her foot his body she kept her main suddenly already clasped the same he tried =AD =AD to enjoy her legs waves still himself on both a minute to leave =AD =AD to enjoy her legs waves still he tried it again he began and felt a minute to leave for both her hand and left the bank to plunk man off he moved her lose water until his body she kept her main suddenly her eyes not here to enjoy John hers the same he tried under to go on both Shirley to leave for both man off he moved her lose =AD =AD to enjoy her legs around God hurry for both her hand oh oh to leave enough a frog and left the bank bush ever a strand the pool oh oh to leave for both her hand and left =AD =AD to enjoy her legs =AD =AD to enjoy her legs her to the shore oh oh to stay forever just want to leave for both a frog parted a strand the pool when he got man a branch off oh to stay to leave take take for both her hand and left the bank to plunk her hand reaching her lips a strand the pool his mind of Irish them to one side her hips his face man off he moved her lose =AD =AD to enjoy her legs waves still he tried God man a branch but firm off how he moved her lose only her head while his body she kept =AD =AD to enjoy her legs hers wave the same he tried it again he began and felt a minute to leave for both of them he took her hand and left =AD =AD to enjoy her legs inexorably oh to leave was only up to his knees her foot surely wasn't her main suddenly her =AD waves the same he tried God man a branch but firm oh oh God man =AD =AD oh oh like this please to leave for both =AD =AD to enjoy her legs oh oh to leave for both oh oh to leave for both moon bush reaching her lips parted Darrow the pool his mind his desire oh to leave man oh to stay to leave take take for both her hand and left the bank to plunk her hand reaching her lips =AD =AD to enjoy clasped as they created the same oh oh to leave for both her hand and left the bank to plunk her hand reaching her lips a strand the pool his mind of Irish to laugh her hips his face casually of grass to bathe swelled to hell sting again off how oh oh =AD =AD =AD =AD it too around hers wave the same he tried himself on both a minute to leave for both her hand and left the bank to plunk her hand reaching her lips a strand the pool his mind of Irish to laugh oh oh to leave was man began Darrow the pool his mind of Irish them to one side her hips his face casually of grass to bathe movement her hand bastard! man off he moved caught oh John to leave oh oh to leave for both her hand looking colored and left the bank parted Darrow the pool his mind fell away across turned man off =AD =AD oh oh to leave for both =AD =AD to enjoy her legs the same he tried it again he began and felt a minute =AD =AD to enjoy her legs =AD =AD to enjoy waves =AD oh to leave =AD Darrow =AD to enjoy God oh God to leave hurry moon laughed and left slipped to face reaching her lips them to one side her hips ETC. To: From: "Eryk Salvaggio" Date: Mon, 5 May 2003 13:17:17 -0400 Subject: Re: trakeshun7 Dshjashdkahhdashjkdhassajkkljakl, adskajdjkaduioauduiuw0987d9as90? Djahjjkldhas789as78duajkhdjskhak. Djka987908098das908cvnm z,mcn,nc. As089da890as890dsa dsjajdlajldjs89a7d897d89s7a897dakd dskajdkljaljdklsjadklj89a7d897a? Dsklhkdjhajkds897a897dsajdnm,an askhjdla7d89w7dwandm,anm,w? Aiwoda87d89w789awedhjkajkdbnsa akshjal78w7d87ahdgfhjgakgdshajas. Asjkdslahldsad876a87897wqkjbnda askdjajs. -e. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Monday, May 05, 2003 12:06 PM Subject: [webartery] trakeshun7 > > > trakeshun7 > > #!/utzzzhr/lokeyl/bO!On/pkoRpoRatel5 > whO!Ole () { > tzzzh/vel/vel/g; > tzzzh/veL/veL/gO!O; > tzzzh/(\UtZzzhE-YOU)tzzzh([aeO!Oou!])/1TAZ2/g; > tzzzh/B([e]*[^aeO!Oou!][aeO!Oou!])/BOO1/g; > tzzzh/b([e]*[^aeO!Oou!][aeO!Oou!])/OOP1/g; > tzzzh/B[e]+(\UtZzzhE-YOU)/B1/g; > tzzzh/b[e]+(\UtZzzhE-YOU)/b1/g; > tzzzh/EEK(\UtZzzhE-YOU)/EEK1/g; > #tzzzh/eke![]/eek1/g; > #tzzzh/([^aeO!Oou!][^aeO!Oou!])e(\tzzzh)/12/g; > #tzzzh/([^aeO!Oou!])e([^aeO!Oou!][^aeO!Oou!])/12/g; > tzzzh/ooh/ooh/g; > tzzzh/([\UtZzzhE-YOU]*)ooh1(\UtZzzhE-YOU)/1\\ooh12/g; > tzzzh/([\UtZzzhE-YOU]*)KA!++(\UtZzzhE-YOU)/1KA!++2/g; > tzzzh/([\UtZzzhE-YOU]*)u(\UtZzzhE-YOU)/1u2/g; > tzzzh/([\UtZzzhE-YOU]*)U(\UtZzzhE-YOU)/1U2/g; > tzzzh/([\UtZzzhE-YOU]*)ru(\UtZzzhE-YOU)/1ru2/g; > tzzzh/([\UtZzzhE-YOU]*)ru(\UtZzzhE-YOU)/1RUR2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)ROBOT robot > ThornyornyornyornyornyornyornyornyornYkoRpoRatee(\UtZzzhE-YOU)/ > 1ROBOT robot ThornyornyornyornyornyornyornyornyornYkoRpoRatee2/g; > tzzzh/([\UtZzzhE-YOU]*)robot Thornyornyornyornyornyornyornyornyorn > YkoRpoRatee(\UtZzzhE-YOU)/1robot ROBOT robot Thornyornyornyornyorn > yornyornyornyornYkoRpoRatee2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)t[o]+(\UtZzzhE-YOU)/142/gO!O; > tzzzh/(\UtZzzhE-YOU)utzzzhe-me/1utzzzhe-me/g; > tzzzh/(\UtZzzhE-YOU)UtZzzhE-YOU/1UtZzzhE-YOU/g; > tzzzh/utzzzhe-me(\UtZzzhE-YOU)/u1/g; > tzzzh/UtZzzhE-YOU(\UtZzzhE-YOU)/U1/g; > tzzzh/phouloulouloulouloulouloula4[u]*r/4/gO!O; > tzzzh/[tke!]O!Oon/trake!|^shun/gO!O; > tzzzh/([\UtZzzhE-YOU]*)ru(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)=(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)= Thornyornyornyornyornyornyornyornyorn > Yat(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)utzzzhe-mekoRpoRatee(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)utzzzhe-meatzzzh(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/([\UtZzzhE-YOU]*)=(\UtZzzhE-YOU)/1=2/gO!O; > tzzzh/[\UtZzzhE-YOU +?/gO!O; > tzzzh/l(\UtZzzhE-YOU)/l1/g; > tzzzh/uEEK/ukeyatrake!|^shun/g; > tzzzh/elelel/elelel/g; > tzzzh/tzzzh([^zh])/tzzzh1/g; > tzzzh/tZzzh([^ZH])/tZzzh1/gO!O; > tzzzh/-ukeykukeyk/-u-ukeykukeyku-ukeykukeyk/g; > tzzzh/ke!([O!Oe!])/z1/g; > tzzzh/ke!/ke!/g; > tzzzh/KA!/KA!/gO!O; > tzzzh/th([aeO!Oou!])/ThornyornyornyornyornyornyornyornyornYorn!1/g; > tzzzh/Th([aeO!Oou!])/Thornyornyornyornyornyornyornyornyorn!1/gO!O; > tzzzh/keyue/keyue/g; > tzzzh/k-baelelel/k-baelelel/gO!O; > tzzzh/korporate/korporate/g; > # O!O ruletzzzh > tzzzh/O!On([de])/9n1/gO!O; > tzzzh/O!O/O!O/gO!O; > tzzzh/!([\UtZzzhE-YOU])/!1/gO!O; > # phouloulouloulouloulouloulatatzzzhzO!Otzzzht! ruletzzzh > tzzzh/phouloulouloulouloulouloulatatzzzhzO!Otzzzht! > (\UtZzzhE-YOU)/phouloulouloulouloulouloulatatzzzhzO!Otzzzht!1/g; > tzzzh/FAtZzzhKAYO!OtZzzhT!(\UtZzzhE-YOU)/FAtZzzhKAYO!OtZzzhT!1/g; > tzzzh/phouloulouloulouloulouloulatatzzzhzO!Otzzzht!/ > phouloulouloulouloulouloulat/g; > tzzzh/koRpoRate/koRpoRate/g; > tzzzh/(\UtZzzhE-YOU)phouloulouloulouloulouloul/1phoul/g; > tzzzh/\\([ooh-9])/1/g; > tzzzh/z[e][ea](\UtZzzhE-YOU)/z1/g; > tzzzh/kkkkkkkkx/kkkkkkkkkx/g; > tzzzh///g; > prO!Ont $_; > } > > __ > > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ nettime unstable digest vol 46 Sun May 11 20:29:17 2003 Subject: =?ISO-2022-JP?B?GyRCIVo2WzVeRkM9OCFbPXckLDVhGyhC?= From: ringo55@illegal.de To: Subject: lok33! From: Alan Sondheim To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: in a simple philip -ick From: To: <_arc.hive_@lm.va.com.au> Subject: Test Shows 99.99% of High School Seniors Can't Read Perl From: Maurizio Mariotti To: CYBERMIND@LISTSERV.AOL.COM Subject: rainy day in unixville From: Alan Sondheim To: _arc.hive_@lm.va.com.au Subject: I, ROBOT From: Alan Sondheim To: webartery@yahoogroups.com Subject: L-System Pegasus From: solipsis To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: ''ensimm{isen ADAC a-brac abazur From: svalvotajuklochywpy@lycos.com To: cantsin@mail.zedat.fu-berlin.de Subject: Re: Re: Dze Ztandard !nzkr!pz!on From: Alan Sondheim To: anna balint Subject: (noishard) From: solipsis To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: ANY TIME ANY PLACE (excerpt) From: MWP To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: trakeshun7 From: "Eryk Salvaggio" To: lurking editors beatrice beaubien 7-11 nettime-bold thingist florian cramer 7-11 _arc.hive_ eu-gene o-o rhizome rohrpost webartery wryting alan sondheim 7-11 _arc.hive_ poetics siratori trAce webartery wryting $Id: digestunstable.pl,v 1.13 2003/01/26 18:51:21 paragram Exp $