I recently played the Female Experience Simulator after reading about it in the thesis of a student. It is a “text adventure” where you choose your wardrobe and then go somewhere. Inevitably you get harassed. The lesson of the game is,
Did you think that maybe if you changed your clothes or avoided certain places that you could avoid being harassed?
I just found out that Michael GRODEN (1947 – 2021) passed away a year ago. Groden was a member of CSDH/SCHN when it was called COCH/COSH and gave papers at our conferences. He developed an hypertext version of Ulysses that was never published because of rights issues. He did, however, talk about it. He did, however, publish about his ideas about hypertext editions of complex works like Ulysses. See his online CV for more.
In 1987, William H. Dickey, a San Francisco poet who had won the prestigious Yale Younger Poets Award to launch his career and published nearly a dozen well-received books and chapbooks since, was …
Matthew Kirschenbaum has written a great essay on recovering early digital poetry, The Lost Digital Poems (and Erotica) of William H. Dickey ‹ Literary Hub. Dickey wrote some HyperPoems on HyperCard and so now they are hard to access. Kirschenbaum rescued them and worked with people to add them to the Internet Archive that has a HyperCard emulator. Here is what Kirschenbaum says,
Dickey’s HyperPoems are artifacts of another time—made new and fresh again with current technology. Anyone with a web browser can read and explore them in their original format with no special software or setup. (They are organized into Volume 1 and Volume 2 at the Internet Archive, in keeping with their original organizational scheme; Volume 2 contains the erotica—NSFW!) But they are also a reminder that writers have treasures tucked away in digital shoeboxes and drawers. Floppy disks, or for that matter USB sticks and Google Docs, now keep the secrets of the creative process.
This essay comes from his work for his new book Bistreams which documents this and other recovery projects. I’ve just ordered a copy.
Hi I’m Rameau. You probably don’t know me, but since you’re reading this I’m going to assume you do indeed exist.
> You [ask why] i’m wondering what consciousness is.
I have no idea. But it’s fun to think about.Is this a person? No, because it’s conscious. Is it alive? No, because it doesn’t respond to external stimuli.
> You [ask] why does a person have to respond to external stimuli.
Because then we can interact with it!!!!!But isn’t consciousness an internal phenomenon? Then how would the person interact with anything else? Oh wait, that’s right. We’re not limited by our perception of reality.
I’ve been trying Latitude’s text generation game AI Dungeon. The game is built on Open AI’s GPT-3. You can see a bit of conversation I had with it in a cyberpunk world.
Latitude has gotten into trouble with Open AI because it seems that the game was generating erotic content featuring children. A number of people turned to AI Dungeon precisely because it could be used to explore adult themes, and that would seem to be a good thing, but then some may have gone too far. See the Wired story It Began as an AI-Fueled Dungeon Game. It Got Much Darker. This raises interesting ethical issues about:
Why do so many players use it to generate erotic content?
Who is responsible for the erotic content? Open AI, Latitude, or the players?
Whether there are ethical reasons to generate erotic content featuring children? Do we forbid people from writing novels like Lolita?
How to prevent inappropriate content without crippling the AI? Are filters enough?
The problem of AIs generating toxic language is nicely shown by this web page on Evaluating Neural Toxic Degeneration in Language Models. The interactives and graphs on the page let you see how toxic language can be generated by many of the popular language generation AIs. The problem seems to be the data sets used to train the machines like those that include scrapes of Reddit.
Formality* is an interactive in browser art work about filling out forms to apply to “The Neighbourhood”. Formality* was developed in HyperCard by Ewan Atkinson and plays with the retro development environment. Having spent a lot of time on HyperCard I loved Atkinson’s use of the environment – he even has agents that can advise you (reminiscent of Brenda Laurel’s work). Formality* is part of a larger work called The Neighbourhood Project – it makes you wonder about how one becomes part of communities and the processes of applying to belong.
Project to digitise and publish his marginalia online will allow scholars to see his cutting remarks on Ralph Waldo Emerson
The Guardian has a story on an interesting digital humanities project, JS Mill scribbles reveal he was far from a chilly Victorian intellectual. The project, Mill Marginalia Online, is digitizing an estimated 40,000 comments, doodles, and other marks that John Stuart Mill wrote in his collection of 1,700 books, now at Somerville College, Oxford. His collection was donated to Somerville 30 years after his death in 1905 because the women of the college weren’t allowed to access the Oxford libraries at the time.
His comments are not just scholarly notes. For example, above is an image of the title page of Emerson’s Essays that Mill added text to in order to mock it. The new title page with Mill’s penciled in elaboration and the original reads,
Sentimental Essays: in the art of
Sense and Nonsense:
R. W. Emerson,
of Concord, Massachusetts.
A clever + well organised youth brought up
in the old traditions.
In thought “all’s fish that comes to net.”
With Fog Preface
By Thomas Carlyle.
“Patent Divine-light Self-acting Foggometer”
To the Court of
Her mAJESTy Queen Vic.
c ya laterrrr is text “game” by Dan Hett to document his experience after the Manchester terror attack when he lost his brother. “c ya laterrrr” was the last message he got from his brother. I found the game through an interview with the Guardian that talks about the games he is making. Another games that is less narration and more 8-bit graphics is the Loss Levels made with Pico-8.
As both games deal with the same event they make an interesting comparison of genres. I find the text adventure game much more effective for this subject as you feel the event unfold and the decisions give you a feeling for the experience.
Last week I presented a paper based on work that Stéfan Sinclair and I are doing at the University of South Florida. The talk, titled, “Cooking Up Literature: Theorizing Statistical Approaches to Texts” looked at a neglected period of French innovation in the 1970s and 1980s. During this period the French were developing a national corpus, FRANTEXT, while there was also a developing school of exploratory statistics around Jean-Paul Benzécri. While Anglophone humanities computing was concerned with hypertext, the French were looking at using statistical methods like correspondence analysis to explore large corpora. This is long before Moretti and “distant reading.”
The talk was organized by Steven Jones who holds the DeBartolo Chair in Liberal Arts and is a Professor of Digital Humanities. Steven Jones leads a NEH funded project called RECALL that Stéfan and I are consulting on. Jones and colleagues at USF are creating a 3D model of Father Busa’s original factory/laboratory.