Tim Gaze



Computer-mediated Writing and the Remix

I've written several computer programs to manipulate text. Some of these programs use rules and lists of words to produce totally new texts as output. Other programs take existing texts as input, then blend and alter them to produce a new text. The latter I term "remixes".

I've borrowed the remix paradigm from popular music. In popular music, variant recorded versions of a song are termed remixes. After the primary stage of creativity, writing a song or text, the new paradigm recognizes a second creative stage, enacted by the recording engineer or editor. For example, in Jamaican dub music, the engineer adds echo and other special effects to create something quite different to the original song. I would like to extend the role of an editor in a similar creative direction. The editor as creative collaborator, doing daring, imaginative things.


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Impro on Butor: Tra of Writing. Tra by E S. Miller. Ed, ad, a intro by Lo Om. Unive Pre of Floa, 214 pas,
$34.95.
Michel Butor, pe the mo inge a ima pra of the no ron, is a Fre ve of that A phen, the pror-not. In the summer of 1991 he re from his po at the Unive of Ge a a lo ca of leg, during which he was ne a to ta a his o work. A must ner, the unive to him, disrupt prol. Just be he red, thoh, his co pre him to do a Butor on Butor, which he did, a this is the ret. O sho no in pa that Butor has not written a no since 1960, tho he has ple to say a the fo he pro be then: Pa de Milan, L'E du tes, La Mon, a Des.O the la 30 yea or so, Butor has virtua de us with highly inno non-fiction that has a fictio impulse be it, a this co of e a first or se dra sho him at his clet, thinking a fiction a pro e if he turned his ba on the nol. His mind is on show here, a what a de to see (hear) him ra far a wide, from China to Mar, from A to Aa, from Ducha to Didet, from Victor Hugo to wa Pas. If you ha re him bee, this bo will re yo intet; he has unusual things to re a ea of his nos. If you ha not, then he will inspire you to o a re them. (De a Pa Time a a in Eh.)The e thing a Butor is that he ma e the no he has in mind, insisting that its structure a to him ay, a the ma surro it. He se e in co a o ma such a go job of co that you wo if mo of it sho be in the no in quen, a so on until the bo of the bo a va a he se to ha written a no e the who wod. This hoc, os, sea te is ra in litee, but you find it in Jo a Prot, in Ma Lo a La Durrell. Butor is a der, a hunter for sches, a man who do no witho first crea a bluet. He a grids, times, sches, a a wo so such into the ske of his book. His re he -- on using the se pe plural, "the `vo of coy"; writing the sho see, or the lo o with a pa in the middle of it; using a le ye in fictio time; sta a pa with a lor-ca ler; writing the cha e fo na vo in the o A with "tral" te in be -- le the mind a chase. Listen to him on his fo nol, the lo Des: The who bo ce on o ho in a Fre eh-gra class. In the se we of the scho year, Tuey, O 12, 1954, a tea will te his studes, a fifte or sixteen, a Christo Co first crog. A this funda cla will cluster the preg, fog, a co clas. The who system will thus ar, little by little, pla on the re e in this nek.
A bit further on he as, "The was thus the risk of ha an inte con." That risk sho up mo in the wo of no who, sla to pro an a e of the big buzzing blo co William Ja spo at, e up with o so ke that the wo rea its ugly he a thro a a de the nol. I had the sa pro with my o Ga (Da Ae, 1993), a wa thro the Milky Way written a to the ge at; o rigo a to the limited a of the co ke e ma out. It's a figure-gro prom, of coe: you ca ha it bo ways; o must be subo to the or. Tha whe this bo is superb, a a Po of fiction, ea as cha a inviting as A Roe-Grille o pseo-primer For a New Nol. Buto title might we ha be For an E Be New Nol; he can theo gra a it, a like Moi, the fa no who a at the e of Co Hoh, e if, since 1960, he ha be a to write it.
What he can do, a he ta illumina at, is turn the e wo into a pa of wos. How did he crea his po of Aa, in the non-fiction a Moe, for ee? "I thus little by little he es, "co te by gre A men -- Fran, Jen, Ca -- or te from da life -- cas, pros, te e by A a de for As." Then he ma an A quilt of them, putting his te to a to pla nas.
Butor is a ha to ba his way thro to the final at. He spea he of "a glo in my head" divided into "a Sa he a a Bre hee So of his fa wo a "poy," "score a "rod," a he is a te to music. Initia or first-time rea will be fa by his a of wa co he in an a ca o Pas; Bro mon; "a re with white hair"; ge a ta ma in Et; ra ca a A as; "the a of os"; the impo of bo titles (a running titles too his de to tra the wo by writing bos; Ja Pok; "the Midwest, the co of the right ae synea, co they, Bet, Mae, a Bac. He e with so dres, o a fa lee, a an a crash, me himse in the third pen.
This is an eg, beg, rigo con, no the wo for including a ve of pa from his published bos, o of which, Po of the A as a Yo Ape, has just be re in a new tra by Da Ae.

[remix of a book review]


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Common

on end must it's to won't herself her onto does we then him you're without or so been who that could along all isn't won't however yes between less along might somebody to above didn't I'm because to everyone off go in has throughout that after began want anywhere herself we're through after if begin until must somewhere has you done no after in through no until somebody the down down however anywhere very we're I'm too but under on been mine that's you what don't unless will anywhere I'm unless got how enough them he came from been those upon let's some who it end himself then between through yes as when throughout noone someone only my these it along me end out have most him anywhere apart between an her who's on went us next am mine along however been what throughout a first our you're could when middle nowhere most upon mine she however himself do all might enough he for now who as and up and behind because I'm whose that end isn't how want are get what want goes you come got just was done I'd had at now only up being with noone here back been how some after under down by nobody throughout no anywhere by as noone he nobody again can much of herself those are them an him above what anybody only middle and didn't whole anyone unless back we some however who's who's some I've does one after on more done at out before one after enough being him has herself away you're I does let's get of under for was between above let first than let's him there now up may herself no get some I'm so than were anybody being must noone herself upon could come at who's so in might is everyone then their had like came we have is because back I'd mine by or must noone so like didn't their is your after but do am come in than everyone my those she nobody won't then been came off beginning how because began here for we who'd behind do he everyone along was did along them these shall down goes many that his isn't you throughout less out along but next may your only I'd she get then during be during for have am without got it's and who'd I'd everyone being when over last

[a randomly generated stream of commonly occurring English words]


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nederlandslip

# Date: Wednesday, May 7, 1997 15:07:19 MET
#
wolf voor haar blijft staan.
of openbaar gemaakt door middel van druk, fotokopie, microfilm of op welke andere wijze ook zonder voorafgaande legend about the famous painter Zhang Sengyao. Zhang was painting four dragons on the wall of a temple in vibrato, een gladde lyrische toon en geraffineerde harmonieŽn. Door deze donkergekleurde jazztrompettisten kwam de spontaniteit
vloek
schat
jagers
in de
vocaal
volstrekt



de
beenderen
vloek
schat
jagers
in de
vocaal beenderen
vloek
schat
jagers
n:=minimum(lengte(woord lengte(woord,maximalemorfeemlengte))
zolang ((niet Reifler Anansi was eating his coconuts. Another Tiger, the brother of the first jaguar om op te staan,
Totdat de wolf voor haar blijft staan wijzen: grote melodische wendingen, emotie streng schaduw eer
beeldig blauwdruk begeerte
steeds bereik dicht schouw vuur
was vuil dood
beenderen
vloek
schat
jagers
in de
vocaal is weer tijd om op te staan,
Totdat de wolf voor haar blijft staan.
En drink een GAZE
Subject: !
X-UIDL: 0093a18f19714ad725593b2bf3ef0ba2

Just Tweer betover schrikbarend teken
nooit begeerte
steeds bereik dicht schouw vuur
was vuil kuil vergaan
betover door middel van druk, fotokopie, microfilm of op welke andere wijze ook
zonder in de
vocaal
volstrekt



de
afzonderlijk
wenkbrauw
altijd omhoog
in de
lucht was vuil kuil vergaan
betover schrikbarend baarmoederslijmvlies verdwijnen spotted spo^t


werkboek W


leren trekken

de mens die arme aap gedwongen
om zich r
spel worden verveelvoudigd en/ with your wijzen: grote melodische wendingen, nog
minder vibrato, een gladde
lyrische toon en


werkboek W


toilet, toilet
a.u.

[a remix of several Dutch and English language texts]








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