digital

Anti-ordination in the visualization of the poem's sound

Bernstein chants 73 through 75 in "1 to 100" (1969)

ARLO visualization of the PennSound recording of Charles Bernstein's "1 to 100," numbers 73 through 75

Through ARLO (Adaptive Recognition with Layered Optimization), enabled by the HiPSTAS (High Performance Sound Technologies for Access and Scholarship) project headquartered at the Information School of the University of Texas at Austin, I sought to visualize the later passages of Charles Bernstein's chanted/screamed list or counting poem, “1 to 100” (1969). Thanks to Chris Mustazza, Tanya Clement, David Tcheng, Tony Borries, Chris Martin, and others, I am finally learning how to use ARLO to some rudimentary effect. Every single PennSound recording is now available in a test space to which ARLO can be applied by researchers, including myself, associated with the project. We are just beginning. HiPSTAS has received two NEH grants to make all this possible, and PennSound is a founding archival partner.

Mr Rubenking's 'Breakdown', by John Tranter

The utilisation of digital computers in the deconstruction and reconstruction of writing

Mr Rubenking's Robot
Mr Rubenking's Robot

“History works through hindsight; and the spectacles of hindsight are tinted with irony. The model of art versus disorder was renovated early in the Industrial Revolution in the service of a Romantic idea: the construction of a role for the author as a unique creative presence rescuing spiritual value from chaos — the aristocracy were dead, God had fled, and Nature was covered with factories — and whose job it was to certify the value of a literary work on behalf of its consumers, the bourgeoisie.

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