7 # * ( } ( } (} (} (} " ( X ( ( ( (
) ) ) ) x ( * *; *| * * (} *| *S ) *| *| * *| *| *| *| *| *|
John Cayley
cayley@shadoof.demon.co.uk
www.demon.co.uk/eastfield/in
with thanks to cris cheek, iod (for Web Stalker) and Lev Manovich
______
*cris cheek's intitial trawl of 'must-reads for netArtists'*
Kathy Acker: *Blood and Guts In High School*, New York: Grove Press, 1989.
Steve Benson: *Blue Book* (in particular perhaps his piece 'The Busses'), Great Barrington, Ma.: The Figures/Roof, 1988.
Brian Catling *The Stumbling Block*, London : Book Works, 1990.
John Cayley: *Book Unbound* ( also in *Engaged*, 3, 1995)
Bob Grenier: *Sentences*, Cambridge, Mass. : Whale Cloth Press, 1978.
*The Little Magazine*, Volume 21 (On CD), from Albany NY: University of Albany Dept. of English, 1996.
Steve McCaffery: *Panopticon* (forthcoming on CD from 'Sound & Language'), Toronto : Blewointmentpress, 1984; and *Imagining Writing* (an anthology, co-edited with Jed Rasula, due out from MIT, early autumn 1998)
Jackson Mac Low: *Representative Works*, New York: Roof Books, 1986.
Lisa Robertson: *Debbie - An Epic* (London: Reality Street Editions, 1997).
Allen Fisher: *defamiliarising*, London : Spanner, 1985.
Tom Raworth: *Log Book*, Berkeley, Ca.: Poltroon Press, 1976; *Writing*, Berkeley, Calif.: Figures, 1982.
Fiona Templeton: *You - The City*, New York : Roof Books, 1990.
Hannah Weiner: *Spoke*, Washington, D.C.: Sun & Moon Press, 1984.
Web Stalker 'reviews' of 1) *Grammatron* by Mark Amerika ; 2) *253* by Geoff Ryman ; and 3) part of the *Wax* site by David Blair
Web Stalker clearly demonstrates how the Web -- an admirably open architecture, the *writerly* (inter)text *par excellence* -- welcomes the more exotic attentions of an active reader. It figures the obvious truism that we are always free to read *in whatever way we wish*, and suggests that we should consider programming (both senses) in order to develop this freedom. The Stalker's readings *are* revealing. They are not be entirely determined by the reader's frame-making. They show the composed structure of these sites; the particular figures displayed by the Stalker's maps can be seen to correspond -- at least partially and alway provisonally -- with this (human) reader's critical appreciation of these textual sites. Which surf looks more inviting to you? And before you start saying that the Stalker merely translates or transposes selectively/arbitrarily from text to vision, remember that all of what the Stalker figures is text; the structure shown is a direct function of the work as text, networked in simple, open html protocols.
The following two 'attached' texts were provided for Mute to use at will, although I expected them to be incorporated as 'illustration' or 'texture' or whatever.
The two texts are:
1) a textMorph piece moving from > "of programmatology" > "of grammatology" > "of prior writing" > "text made the net" > "text made net" > "text makes nettime" > "text made time" >
2) a program piece which is a process/quasi-randomly edited piece of real working (hypertalk) code -- a function definition which is called by the textmorph generation routines.
-------
E E
A A
I I
E OE O
ET TAEUA TT EEEUE
AD DIAYIEDDETAAAYA
IN NOIOANNATIIII
OM MUOLUAMMATOOOLO
OS SYORYAMMATOUORU
OS FOWAMMATOYOWY
OF PLOVLAMMATOOVY
OF PROJRAMMATOLOJY
OF PROGRAMMATOLOGY
OF PLOGRAMMATOLOGY
OF FLOGRAMMATOLOGY
OF SIGRAMMATOLOGY
OF MYAGRAMMATOLOGY
OF NUEGRAMMATOLOGY
OF DO GRAMMATOLOGY
OF TI GRAMMATOLOGY
OF A GRAMMATOLOGY
OF E GRAMMATOLOGY
OF GRAMMATOLOGY
OF GRAMSATOLOGY
OF GRAMFATOLOGY
OF GRANPATILOGY
OF JRANBATALIGY
OF E VRANQITAIGY
OF TAEWRADZO AYAGU
OF DIARRETXUEEUEGO
OF NOILR CYA O GI
OF MUIR KITITGA
OF SYIYR HLITIDGE
OF FIUR GRITING
OF PLIOR JRITING
OF PRIOR WRITING
OF FRIOR WROTING
OF FRIOR WRUTING
OF FLIOR WLYTINJ
OFTFIOL RLYTINV
OFDSIO LYTINW
ISNMYAOY YTINR
AMMNUEIUE YUL ANLT
ENSDO AOE UOREENT
DFTITAIE OIWE NYT
TTPTADAAE IAVE NUT
T BTENAEE AEJE NOT
TEQT MA E E GE NIT
TEZT MATE THE NAT
TEXT MADE THE NET
TEXT MADE TGE NET
TEXT MADE TJE NET
TEXT MADE TVE NET
TEXT MADE TWE NET
TEXT MADE TRE NET
TEXT MADE TL DE
TEXT MADE TET
TEXT MADE YDET
TEXT MADE UNET
TEXT MADE ONET
TEXT MADE INET
TEXT MADE ANET
TEXT MADE ENET
TEXT MADE NET
TEXT MANE NET
TEXT MAME NET
TEXT MASET T D T
TEXT MAFED DETTEDE
TEXT MAPEN NETTANE
TEXT MABEM NETTIME
TEXT MAQEM NETTIME
TEXT MAZES NETTIME
TEXT MAXES NETTIME
TEXT MACES NETTIME
TEXT MAKES NETTIME
TEXT MACEM NETTIME
TEXT MAXEM NETTIME
TEXT MAZEN NE TIME
TEXT MAQED D TIME
TEXT MABET T TIME
TEXT MAPE TIME
TEXT MAFE TIME
TEXT MASE TIME
TEXT MAME TIME
TEXT MANE TIME
TEXT MADE TIME
TEXT MADE TIME
TEZT MADE TANE
TEQT MADE TANE
TEBT MADE TADE
TEPT NADE ATE
F DET E
S T
M
N
D
T
function contrast order,way
global disjuncture,programmaton,poets
put the length of order into bandwidth
put true into moves
get the length of way
if it isGreaterThan bandwidth then
put it into bandwidth
put false into moves
end if
repeat with net is one to bandwidth
get character net of order
if it is empty then
put space into objects
put space into character net of order
else
put it into objects
end if
get character net of way
if it is empty or it is not in disjuncture then
put space into music
else
put it into music
end if
if objects is not music then
put offset(objects,disjuncture) into fashion
if fashion is zero then
put one into fashion
put space into character net of order
put space into objects
end if
put offset(music,disjuncture) into theory
if theory is zero then
put one into theory
end if
put theory minus fashion into Cinderella_of_the_arts
if theory isGreaterThan fashion then
put negative((programmaton minus theory) plus fashion) into implementation
else
put ((programmaton minus fashion) plus theory) into implementation
end if
if the absolute of implementation isLessThan the absolute of Cinderella_of_the_arts then
put implementation into practice
else
put Cinderella_of_the_arts into practice
end if
put (programmaton dividedBy two minus poets plus one) minus the absolute of practice plus one into design
if design isLessThan two then
put one into design
else
put internalize(poets,design) into design
end if
if practice isGreaterThan zero then
add one to fashion
if fashion isGreaterThan programmaton then
put one into fashion
end if
else
subtract one from fashion
if fashion isLessThan one then
put programmaton into fashion
end if
end if
put character fashion of disjuncture into reader
if design isLessThan one then
if poets isGreaterThan six then
if (reader is space) or (objects is space) then
put the time into design
end if
else if poets isGreaterThan eight then
if (objects is in apostrophe) or (reader is in apostrophe) then
put one into design
end if
end if
end if
if the random of design is one then
put reader into character net of order
end if
end if
end repeat
return order
end contrast
v~ v~ v~ ( * / /N ` l A "l "i xC oL N^Nt NV H Y/. 0<+ xN(_`8Y/ 0<, xN&_(l l B C D F
@
9 V > e , x [ }
S # 6 I \ o - @ S f y #<
8 8 #< #< #< #< #< V $ 7 J ] p - @ S f y $ 7 J ] p . A T g z % 8 K ^ q / B C D E F b 9 B h #< #< #< #<
8[ 3 g = k
H s ) j 9 l % 2 i % T D Q \ i x #< #< #< #< B
9 x X @ x X @
E
E "{"|"}"~********444444444444888899?@ @4B BBClCmD p H H 549F{ H H 0 d ' ` A.| R H -:LaserWriter 8
Palatino Courier Mishawaka ( N