Cut/Copy/Paste: Remixing Words (Spring 2012) - Revision history

Wtrettien at 19:24, 26 October 2012

2012-10-26T19:24:03Z

← Older revision		Revision as of 19:24, 26 October 2012
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			''See also [[Limits of Writing (Spring 2012)]].''

	Writing 20-88, Thompson Writing Program, Duke University		Writing 20-88, Thompson Writing Program, Duke University

Wtrettien: moved Cut/Copy/Paste: Remixing Words (Spring 2011) to Cut/Copy/Paste: Remixing Words (Spring 2012)

2012-10-26T19:22:57Z

moved Cut/Copy/Paste: Remixing Words (Spring 2011) to Cut/Copy/Paste: Remixing Words (Spring 2012)

← Older revision	Revision as of 19:22, 26 October 2012
(No difference)

Wtrettien: /* Week 8. Forking paths. */

2012-01-18T02:11:41Z

Week 8. Forking paths.

← Older revision		Revision as of 02:11, 18 January 2012
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	:Everyone will pick a different ''Choose Your Own Adventure'' novel to read.		:Everyone will pick a different ''Choose Your Own Adventure'' novel to read.

	Week 9. Aleatoric determinations.		=== Week 9. Aleatoric determinations. ===

	In-class writing exercise: Aleatoric writing.		In-class writing exercise: Aleatoric writing.

Wtrettien: /* Week 9. Installing language. */

2012-01-18T02:11:06Z

Week 9. Installing language.

← Older revision		Revision as of 02:11, 18 January 2012
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	* Watch Ela Troyano and Tessa Hughes-Freeland, on Roulette TV		* Watch Ela Troyano and Tessa Hughes-Freeland, on Roulette TV

	=== Week 9. Installing language. ===		=== Week 10. Installing language. ===

	In-class writing exercise: A simple poetry generator. If you own a laptop, bring it to class.		In-class writing exercise: A simple poetry generator. If you own a laptop, bring it to class.

Wtrettien: /* Week 10. Installing language. */

2012-01-18T02:10:38Z

Week 10. Installing language.

← Older revision		Revision as of 02:10, 18 January 2012
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	* Watch Ela Troyano and Tessa Hughes-Freeland, on Roulette TV		* Watch Ela Troyano and Tessa Hughes-Freeland, on Roulette TV

	=== Week 10. Installing language. ===		=== Week 9. Installing language. ===

	In-class writing exercise: A simple poetry generator. If you own a laptop, bring it to class.		In-class writing exercise: A simple poetry generator. If you own a laptop, bring it to class.

Wtrettien: /* Course narrative */

2012-01-17T19:56:54Z

Course narrative

← Older revision		Revision as of 19:56, 17 January 2012
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	== Course narrative ==		== Course narrative ==

	In 1959, a German computer ~~programmer~~ programmed a Zuse Z22 computer to cut up and recombine phrases from Franz Kafka's novel ''The Castle''. The string of words spit out by the program reads like a Mad Libs mash-up of Kafka's original work. Who authored these computer-generated texts – the program, the programmer, or Kafka? Are they original poems, or merely derivative experiments? If derivative, where does "fair use" borrowing end and plagiarism begin? And can we consider the computer program itself a "text" in the same way as Kafka's novel?		In 1959, a German computer scientist programmed a Zuse Z22 computer to cut up and recombine phrases from Franz Kafka's novel ''The Castle''. The string of words spit out by the program reads like a Mad Libs mash-up of Kafka's original work. Who authored these computer-generated texts – the program, the programmer, or Kafka? Are they original poems, or merely derivative experiments? If derivative, where does "fair use" borrowing end and plagiarism begin? And can we consider the computer program itself a "text" in the same way as Kafka's novel?

	This computer program is only one in a long history of experimental writing that cuts up, remixes and recombines language as a way of destroying the cohesiveness of writing. In this course, we'll look at ancient Latin cut-up poems; we'll play with seventeenth-century German paper instruments used to produce poetry during live performances; and we'll pull apart simple generative computer programs. Because these "texts" were written to be experienced, we will interact with them experimentally, pulling apart and remaking them – and our own writing – as a community. By engaging in these acts of intentional destruction, we will, together, crack open the mechanisms that make good writing work. Observing where language breaks down will lead us to a better understanding of what language is, as well as what it can do.		This computer program is only one in a long history of experimental writing that cuts up, remixes and recombines language as a way of destroying the cohesiveness of writing. In this course, we'll look at ancient Latin cut-up poems; we'll play with seventeenth-century German paper instruments used to produce poetry during live performances; and we'll pull apart simple generative computer programs. Because these "texts" were written to be experienced, we will interact with them experimentally, pulling apart and remaking them – and our own writing – as a community. By engaging in these acts of intentional destruction, we will, together, crack open the mechanisms that make good writing work. Observing where language breaks down will lead us to a better understanding of what language is, as well as what it can do.

Wtrettien: /* Course narrative */

2012-01-17T19:56:39Z

Course narrative

← Older revision		Revision as of 19:56, 17 January 2012
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	== Course narrative ==		== Course narrative ==

	In 1959, a German computer ~~Investigator~~ programmed a Zuse Z22 computer to cut up and recombine phrases from Franz Kafka's novel ''The Castle''. The string of words spit out by the program reads like a Mad Libs mash-up of Kafka's original work. Who authored these computer-generated texts – the program, the programmer, or Kafka? Are they original poems, or merely derivative experiments? If derivative, where does "fair use" borrowing end and plagiarism begin? And can we consider the computer program itself a "text" in the same way as Kafka's novel?		In 1959, a German computer programmer programmed a Zuse Z22 computer to cut up and recombine phrases from Franz Kafka's novel ''The Castle''. The string of words spit out by the program reads like a Mad Libs mash-up of Kafka's original work. Who authored these computer-generated texts – the program, the programmer, or Kafka? Are they original poems, or merely derivative experiments? If derivative, where does "fair use" borrowing end and plagiarism begin? And can we consider the computer program itself a "text" in the same way as Kafka's novel?

	This computer program is only one in a long history of experimental writing that cuts up, remixes and recombines language as a way of destroying the cohesiveness of writing. In this course, we'll look at ancient Latin cut-up poems; we'll play with seventeenth-century German paper instruments used to produce poetry during live performances; and we'll pull apart simple generative computer programs. Because these "texts" were written to be experienced, we will interact with them experimentally, pulling apart and remaking them – and our own writing – as a community. By engaging in these acts of intentional destruction, we will, together, crack open the mechanisms that make good writing work. Observing where language breaks down will lead us to a better understanding of what language is, as well as what it can do.		This computer program is only one in a long history of experimental writing that cuts up, remixes and recombines language as a way of destroying the cohesiveness of writing. In this course, we'll look at ancient Latin cut-up poems; we'll play with seventeenth-century German paper instruments used to produce poetry during live performances; and we'll pull apart simple generative computer programs. Because these "texts" were written to be experienced, we will interact with them experimentally, pulling apart and remaking them – and our own writing – as a community. By engaging in these acts of intentional destruction, we will, together, crack open the mechanisms that make good writing work. Observing where language breaks down will lead us to a better understanding of what language is, as well as what it can do.

Wtrettien at 17:54, 17 January 2012

2012-01-17T17:54:20Z

Show changes

Wtrettien: /* Week 11. Social media. */

2012-01-17T17:52:41Z

Week 11. Social media.

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	April 6.		April 6.

	* mark amerika, “Play All the Remixes,” Remix the Book		* mark amerika, “Play All the Remixes,” ''Remix the Book''
	* McKenzie Wark, “Hacker Manifesto”		* McKenzie Wark, “Hacker Manifesto”
	* Shane Hinton and mez, “_:terror(aw)ed patches:_ [A Google Wave(let) Transformation Wurk]”		* Shane Hinton and mez, “_:terror(aw)ed patches:_ [A Google Wave(let) Transformation Wurk]”

Wtrettien: /* Week 8. Forking paths. */

2012-01-17T17:52:19Z

Week 8. Forking paths.

← Older revision		Revision as of 17:52, 17 January 2012
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	* Jorge Luis Borges, “The Garden of Forking Paths”		* Jorge Luis Borges, “The Garden of Forking Paths”
	* Vannevar Bush, “As We May Think”		* Vannevar Bush, “As We May Think”
	* Selections from Ted Nelson, Literary Machines		* Selections from Ted Nelson, ''Literary Machines''

	March 16.		March 16.

	:Everyone will pick a different Choose Your Own Adventure novel to read.		:Everyone will pick a different ''Choose Your Own Adventure'' novel to read.

	Week 9. Aleatoric determinations.		Week 9. Aleatoric determinations.
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	* Stephane Mallarme, “Un coup de des”		* Stephane Mallarme, “Un coup de des”
	* Oulipo, “Six Selections by the Oulipo,” in The New Media Reader		* Oulipo, “Six Selections by the Oulipo,” in ''The New Media Reader''
	* Theo Lutz, “Stochastic texts”		* Theo Lutz, “Stochastic texts”