Using your Mind Map software make the mind map of the Frequency conception.
What are the main constraints that are used by Scott Rettberg in his generator the Frequency? What types of syllabic forms and rhyme schemes does he use to generate his poems? Explain each of them by listing its structural features using the examples from the Frequency. What are the main principles of the Frequency generator? Read the Frequency Project Introduction and explain the main idea of the project.
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ОтветитьУдалитьMindMap: https://postimg.cc/DStckTfg
ОтветитьУдалитьPART 1
1. What are the main constraints that are used by Scott Rettberg in his generator the Frequency?
This project has a set of constraints which are: constrained set of words and generating poems in predetermined syllabic and rhyme structure.
2. What types of syllabic forms and rhyme schemes does he use to generate his poems? Explain each of them by listing its structural features using the examples from the Frequency.
Rhyme schemes (Shakespearian, Spenserian, Petrarchan and Terza rima), syllabic forms (Haiku, Tanka, Oulipan snowball) and original authors’ models such as “Two towers”, “Four square” and “Doubling”.
The “Four Square” poem has four four-line stanzas selected by character length. Sometimes, some of the lines can be repeated and it gives the poem a refrain-like tone.
The “Two Towers” poems generate two character-based stanzas next to each other. It can be read in multiple ways: individually, sequentially, or line by line to form new line combinations.
“Doubling” – consists of 6 lines with the even numbers. 1 – two words, 2 – four, 3 – six, 4 – eight, 5 – four and 6 – two.
Syllabic forms: Haiku, Tanka, Oulipan snowball.
The Japanese Tanka - “short poem”- is a 5-line poem in which the first and third lines are selected from the 5-syllable line array, and the second fourth and fifth are selected from the 7-syllable array. A title is selected randomly from among all the lines in the data set and displayed in upper case.
Haiku consists of three lines— a 7-syllable line preceded and followed by a 5-syllable line— this form juxtaposes images, along with an understated comment and a seasonal reference.
Oulipan snowball – the poem becomes longer and longer like the snowball becomes bigger and bigger. It consist of 40 lines.
Great!
УдалитьPART 2
ОтветитьУдалитьRhyme schemes : Shakespearian, Spenserian, Petrarchan and Terza Rima.
Terza Rima, as a set of three line stanzas with an ABA BCB CDC DED rhyme scheme, is therefore simple to assemble.
In the Petrarchan sonnet, the first 8 lines are meant to present an idea with the 9th line offering a sharp rhetorical turn that is explored in the remaning 5 lines.
Spenserian sonnet: the same scheme as Petrarchan one, but with more interlocking rhyme scheme.
The Shakespearean sonnet. Rettberg didn’t publish any in “Frequency”, but he did design the program with that famous type in mind.
He wrote only 7 rhyme variables: just enough to get to the Shakespearean GG couplet. And he only gets as far as using E rhymes in the generated poems.
He wrote a subroutine to produce them, readable in the Ruby program.
All examples are in the file on dispace, because I'm afraid that it will be too much text here.
Frequency generator by Scott Rettberg (The main idea)
“Frequency” is a project of Scott Rettberg in electronic literature, where he mixes creative writing and digital media. It reflects on contemporary American life using a constrained set of words and automated poem generation. This project has a set of constraints which are: constrained set of words and generating poems in predetermined syllabic and rhyme structure.
There are several poetic forms in it. One of them - classical rhyme schemes, which includes Shakespearean, Spenserian, Petrarchan, and Terza rima schemes. The second one is syllabic forms such as Haiku, Tanka and Oulipan snowball. And it also has original author’s models, which are “Two Towers” “Four Square” and “Doubling”. For example, “Two towers” generates two side-by-side stanzas, these can be read in multiple ways: as individual stanzas, in sequence, or by mixing lines from both stanzas to create new line combinations. Other forms and models have their own specific features.
The poems are generated without reader interaction, appearing at timed intervals. The structure of the lines in terms of word length or character count is not fixed, but the total number of characters in each line (including spaces) is predetermined for each poem pattern.
Thus, this project demonstrates, how technology and limited writing can generate complex poetry, mixing human literary tradition with digital technologies.
Thank you, Anastasiya!
УдалитьPart 1: The constraint components of writing project “Frequency” about contemporary American life during the late age of terror are the poems that include 200 of the most common English words, which are the basis for 2000 lines of all the poems. The process of writing the lines was not aided by the machine and was painstaking work. Scott Rettberg wrote a set of ten lines beginning with each word, only using the other words in this list in the rest of the line. It is perhaps not unsurprisingly difficult to make meaningful expressions with such a limited vocabulary, but in the end he was surprised by how flexible these base units of our language can be.
ОтветитьУдалитьhyme schemes are Shakespearian, Spenserian, Petrarchan and Terza rima.
A Shakespearean sonnet, also known as an English sonnet, has a specific rhyme scheme:
ABAB CDCD EFEF GG
Each of the first three stanzas has a rhyme scheme of ABAB. This means the first and third lines rhyme, as do the second and fourth lines.
The final two lines of the sonnet are a rhyming couplet, meaning they rhyme with each other (GG).
Rettberg didn’t publish any Shakespearian rhyme in “Frequency.” But he did design the program with that famous type in mind:
-He wrote only 7 rhyme variables: just enough to get to the Shakespearean GG couplet. And he only gets as far as using E rhymes in the generated poems.
-He wrote a subroutine to produce them, readable in the Ruby program below:
shakespearian = Proc.new do
puts ‘———————————————————’
puts frequency[rand(200)][rand(10)].upcase
puts
puts A[rand(A.length)]
puts ’ ’ + B[rand(B.length)]
puts ’ ’ + B[rand(B.length)]
puts ’ ’ + A[rand(A.length)]
puts C[rand(C.length)]
puts ’ ’ + D[rand(D.length)]
puts ’ ’ + D[rand(D.length)]
puts ’ ’ + C[rand(C.length)]
puts E[rand(E.length)]
puts ’ ’ + F[rand(F.length)]
puts ’ ’ + F[rand(F.length)]
puts ’ ’ + E[rand(E.length)]
puts G[rand(G.length)]
puts G[rand(G.length)]
puts ‘———————————————————’
end
Spenserian is a nine-line form with the rhyme scheme ABABBCBCC. It combines elements of the Italian sonnet and the English sonnet. It consists of eight lines of iambic pentameter followed by a single alexandrine line (iambic hexameter). This structure allows for a complex interlocking rhyme pattern that adds musicality and cohesion to the stanza.
For example: GOOD FOR THEM
The poem seems to depict a chaotic and confusing situation, possibly a fractured relationship or a personal crisis. The speaker's fragmented thoughts and the rapid shift in focus create a sense of disarray.
The selection algorithm prevents accidental rhyme repetition, so the couplet at the end at least offers a refreshing rhyme variation, if not necessarily a volta.
The references to "three," "letter from your man," "answer the man," and "find your old man" hint at a complex web of relationships and unresolved conflicts. The mention of "long look at her" and "you play around again the sound" suggests a desire for connection but also an underlying sense of melancholy or longing. The repetition of "down" and "again" at the end suggests ongoing or cyclical patterns.
Part 2: Petrarchan sonnet has 14 lines where the first eight lines (octave) follow the rhyme scheme ABBAABBA. The last six lines (sestet) follow the rhyme scheme CDECDE or CDCDCD.
ОтветитьУдалитьA significant feature of the Petrarchan sonnet is the "volta," or turn, which typically occurs between the octave and the sestet. This is a shift in thought, perspective, or argument, where the poet often introduces a resolution, counterargument, or a new insight related to the theme presented in the octave.
While not strictly a structural element of the rhyme scheme itself, Petrarchan sonnets are often written in iambic pentameter, meaning each line consists of five metrical feet (i.e., ten syllables), with an unstressed syllable followed by a stressed syllable.
The octave usually presents a problem, situation, or emotional state, while the sestet typically provides a resolution or reflection on that initial theme, allowing for a deeper exploration of the ideas introduced earlier.
For example: WHICH AMERICA DID YOU THINK WAS YOUR OWN
The poem opens with a question, challenging the reader to examine their sense of belonging. The poem speaks of following a leader, potentially representing a journey of discovery or a search for purpose.
Terza rima is developed by Dante Alighieri, a set of three line stanzas with an ABA BCB CDC DED rhyme scheme. The challenge of this type of rhyme is the coherence over a greater number of lines and the rhetorical expectations that come with the form. The easiest part of all this is creation of 12 arrays according to line endings and up to 7 rhyming variables that draw from them to create poems with the necessary rhyme schemes. This poetic form creates momentum by including within each tercet the key to the next tercet— and the ear craves the completion of the rhyme.
For example: OUT EVEN A WORD TO SAY
he speaker expresses a desire to connect with someone, feeling a lack of communication. The tone is pleading and introspective, with a sense of urgency. The mood conveys longing and desire for connection. Lines like "because I need you" suggest emotional reliance. The middle rhyme of one tercet sets the rhyme for the first and third lines of the next tercet. There is some repetition of words like "because" and "your hand," emphasizing specific themes or ideas. The poem concludes with an invitation to "come away with me," indicating a desire for companionship and shared experiences.
Part 3: Syllabic forms are Haiku, Tanka, Oulipan snowball.
ОтветитьУдалитьHaiku is shorter than Tanka Japanese poetic form that became prominent in Imagist Poetry because of their compression and focus on images. It consist of three lines with a syllable count of 5-7-5. The form typically contrasts images, ideas, or concepts, creating a surprising or thought-provoking effect. The haiku often includes a subtle observation or reflection on the presented imagery. The juxtaposed nature of haiku welcomes unexpected connections, allowing readers to interpret the poem in unique ways. Finding natural elements within a given data set can be challenging. The writer needs to think creatively and utilize the context of the form to identify potential seasonal references.
For example: SPELL OUT WHAT YOU NEED
The poem encourages a shift in mindset, urging the reader to move beyond their current understanding and embrace a broader view.
The image of "study of your page" suggests a fixed perspective or an entrenched viewpoint, possibly referring to a book, but more broadly, a rigid approach to life or knowledge.
The poem implies that even when someone believes they are correct, there is always more to learn and a need to remain open to change. The "boy" addressed in the poem could be a young person, symbolizing anyone who needs to break free from rigid thinking.
Tanka is a short 5-line poem where the first and third lines are selected from the 5-syllable line array, and the second fourth and fifth are selected from the 7-syllable array. The title is randomly chosen from the entire data set and presented in uppercase letters. In a short poem, the title holds significant weight, as it establishes the conceptual lens through which the entire poem is understood.
For example: TAKE ME AWAY FROM HERE
The poem adheres to the Tanka format of 5-7-5-7-7 syllables. It includes vivid imagery that evokes emotion. The title convey deeper emotional undertones, capturing a fleeting moment of a desire for escape, a yearning to leave the current situation behind. The poem speaks of a painful realization that things cannot be undone. It suggests a longing for escape from a current situation, coupled with regret for a missed opportunity and a sense of resignation to the present. The speaker desires to move on but seems unable to change their situation, making it a poignant expression of a painful moment in time.
Oulipan snowball is a form of constrained writing in which each line of a poem increases in length by one word, creating a visual and conceptual "snowball" effect. The structure leads to a gradual unfolding of ideas or imagery.
For example: ME I WILL NOT CHANGE
The poem starts with a singular idea and expands to explore themes that are more complex. Each line builds upon the last, adding depth and context. The poem often moves from a simple to a more nuanced expression. The poem contrasts various ideas and images, creating a sense of disjointedness or uncertainty. For example, the contrast between "good try" and "about your letter" hints at a more complex and possibly negative message. The poem seems to explore themes of isolation, disillusionment, and the search for connection. The title hints at a reluctance to adapt or a sense of being stuck.
The poem's fragmented nature and disjointed imagery contribute to a sense of uncertainty and confusion. The "animal" and the "man with no need to ask why" could represent different aspects of the speaker's journey or different people they encounter.
The poem ends with a sense of resignation and a possibility of trying to "make a go of it," suggesting a hope for a better future despite the present challenges.
Part 4: Main Principles:
ОтветитьУдалить-The project is inspired by the Oulipo, a group of writers and mathematicians who advocate for using constraints to generate creative works. The project incorporates several constraints, such as using the 100 most common Flickr tags, downloading and using 20 Creative Commons licensed photos for each tag, and including a single word from a sequence of commonly used English words in each prose text.
-The project aims to create a hypertext, allowing for multiple fragmented yet coherent reading experiences in multiple reading sessions. The 2000-node novel is designed to be read in different ways and on different platforms, highlighting the potential for multiple interpretations and nonlinear reading experiences.
-By using popular Flickr tags and common English words, the project seeks to explore the collective consciousness or unconscious of a contemporary audience. It investigates how the text might reflect shared cultural trends and patterns in language and image use.
-The project embraces a Creative Commons license, promoting open access and encouraging remixes and adaptations of the work. This encourages collaboration and participation in the creation and dissemination of creative content.
-The project explores the concept of "atomistic fiction," where a novel is composed of distinct "narrative moments" that can be isolated from each other. This allows for flexibility in reading and reassembling the story.
Main idea:
The Frequency Project seeks to create a cohesive and multi-layered narrative through a constrained writing process. It aims to explore how limitations can stimulate creativity and lead to unexpected and compelling results. The project combines elements of poetry, prose, hypertext, and visual media to create a unique and engaging reading experience that invites readers to engage with the collective (un)consciousness of the contemporary world.
Thank you, Alexandra!
УдалитьWhat are the main principles of the Frequency generator? Read the Frequency Project Introduction and explain the main idea of the project.
ОтветитьУдалитьFrequency is a project by Scott Rettberg, inspired by the group Oulipo, which uses constraints to create poetry and fiction. The main idea behind the project is to write within strict rules, but still tell a meaningful and interesting story. The key principles of Frequency:
1) Rettberg uses constraints such as the 100 most popular Flickr tags and Creative Commons photos tagged with those tags. Each piece of prose includes a word from a list of the most frequently used English words beginning with “frequency.” The goal is to see if it’s possible to write a compelling story even with such strict rules.
2) the project is constructed as a hypertext. It consists of 2000 small fragments (nodes) linked to each other. The reader can navigate through them in different ways, each time having a unique reading experience. Each fragment works on its own, but at the same time fits into the overall story.
3) Using popular tags and common English words, the author tries to find out if they reflect some kind of common consciousness of people.
4) The project is released under a creative commons license, meaning anyone can remix or use it as long as they give credit and don't use it for commercial purposes. This mirrors the way the project uses creative commons photos from Flickr. The goal is to create a community-driven, open-source piece of fiction that encourages collaboration and remixing.
5) The novel and poetry are connected. Each prose piece relates to a line from a poem generated within the project, creating a link between the two forms. The main idea: to build a narrative that functions both as a novel and as a poetry project, allowing the two to interact in interesting ways.
6) atomistic fiction. The novel is made up of "narrative moments" that can stand alone but also contribute to the larger story. This approach is a continuation of Rettberg's interest in writing fiction that works both in parts and as a whole. The main idea is to develop a novel that is made up of distinct moments but still tells a complete story when viewed as a whole.
7) multi-platform delivery. Rettberg plans to release the project in various formats, including a blog, a poetry generator, a hypertext novel, a print book, and a mobile version. The idea is to make the work accessible in different forms, allowing readers to experience it in multiple ways.
Main Constraints:
Flickr tags and photos:
Rettberg uses the 100 most common Flickr tags as a central constraint. For each tag, he downloads and uses 20 Creative Commons-licensed photos associated with that tag. The prose texts he generates respond to both the tag and the associated images, making each piece of writing directly influenced by these common themes.
Example: if the tag is “beach,” the text must reference or be inspired by beach-related photos.
Common english words:
Each prose piece includes one word from this list, progressing in order from one story to the next. This limits the vocabulary but maintains a link to the everyday language people use.
Example: the first story includes the word “frequency,” and the next includes the following word in the sequence.
Poetry line as a base:
Each prose text corresponds to a line from a poem generated by the project. This makes the poem lines and prose interdependent, with the prose responding to or building on the ideas of the poem line.
Example: if a poem line refers to "sunset," the associated prose might explore themes related to evening or endings.
Hypertext and fragmentation:
The novel is composed of 2000 short narrative fragments, called nodes, which can be read in any order. These small pieces are connected but can also stand alone, creating multiple pathways for the reader.
Goal is to deliver different reading experiences depending on how the reader navigates the text.
Thank you, Kate!
УдалитьScott Rettberg's Frequency is an intriguing digital poetry generator that blends computational logic with creative language structures, offering an innovative exploration of how randomness and constraints can produce evocative poetry. By employing algorithms to create poems, Frequency highlights the interaction between human creativity and machine intelligence. The generator operates under specific formal constraints related to syllabic patterns and rhyme schemes, enabling it to maintain coherence and poetic quality while embracing randomness. This essay will analyze the constraints used by Rettberg, the syllabic forms and rhyme schemes featured in the poems, and the underlying principles guiding the Frequency generator.
ОтветитьУдалитьMain constraints
One of the fundamental constraints of Frequency is its reliance on pre-defined syllabic patterns and rhyme schemes, which serve as the structural backbone of the poems generated. Unlike traditional poetry, where human authors intuitively adjust rhythm, pacing, and word choice, Frequency adheres strictly to algorithmically determined rules, ensuring the output conforms to specific formats. These rules revolve around the following key constraints:
1. Syllabic constraints
Each poem generated by Frequency follows a predetermined number of syllables per line. The syllabic structure is vital for ensuring a sense of rhythm and cadence in the otherwise randomized language output. For example, some poems might adhere to a 5-7-5 structure reminiscent of haikus, while others might employ different forms such as quatrains or couplets.
2. Rhyme scheme constraints
Another significant constraint is the adherence to specific rhyme schemes. Rhyme schemes provide sonic coherence to the poems, giving them a musical quality. Frequency uses common patterns like ABAB, AABB, or even more complex rhyme schemes to bind the lines together through sound.
These constraints, particularly when applied consistently, ensure that the generated poems feel familiar and "poetic" even as they are created by an algorithm. By imposing these formal limitations, Frequency retains poetic convention while embracing the unpredictability of machine-generated language.
Syllabic forms
In Frequency, Rettberg uses a variety of syllabic forms to generate his poems, each providing a distinct structural framework. These forms control the meter and pacing of the generated poetry. Some of the most prominent syllabic structures are:
• Haiku form (5-7-5)
One of the most recognizable syllabic forms used in Frequency is the haiku-inspired 5-7-5 pattern. Haikus traditionally follow this structure, with the first and third lines containing five syllables and the second line containing seven syllables. This form gives the poems a concise, rhythmic quality, allowing for brief but impactful statements. For instance, a typical haiku generated by Frequency might read:
o The sky turns to blue (5 syllables)
o Shadows stretch long in the dusk (7 syllables)
o Birds call in the night (5 syllables)
This structure is efficient, balancing brevity with a natural cadence.
• Quatrain form (8-6-8-6)
Another common syllabic form used in Frequency is the quatrain structure, where alternating lines contain eight and six syllables. This form, often associated with ballads or hymns, creates a flowing, melodic rhythm. For example:
o The sun dips low beneath the hills (8 syllables)
o The breeze whispers goodbye (6 syllables)
o The night unveils its hidden thrills (8 syllables)
o As stars light up the sky (6 syllables)
Here, the alternating syllable count creates a wave-like motion that gives the poem a lyrical feel.
• Couplet forms
Frequency also uses couplets with varying syllabic counts. A couplet is a pair of lines that often rhyme and have the same or differing syllabic structures. For example:
o Beneath the trees, the shadows play (8 syllables)
o While moonbeams dance the night away (8 syllables)
The matching syllabic count in the couplets reinforces balance and symmetry, and the rhyme at the end of each line enhances the musicality.
Rhyme schemes
УдалитьIn addition to syllabic forms, rhyme schemes play a crucial role in the generative process of Frequency. The rhyme schemes used are traditional yet flexible, providing sonic unity to the generated poems. The most commonly employed rhyme schemes include:
1. ABAB rhyme scheme
In this pattern, the first and third lines rhyme, as do the second and fourth lines. This scheme is prevalent in quatrains and creates a sense of continuity across alternating lines. For example:
o The river flows beyond the bend (A)
o Its waters shimmer in the night (B)
o The journey never seems to end (A)
o Beneath the stars' soft silver light (B)
The ABAB pattern helps maintain interest and variety in the poem, as the rhyming lines are spaced out.
2. AABB rhyme scheme
This rhyme scheme is often used in couplets, where each pair of lines rhymes. It gives the poem a more closed, conclusive feel, as each pair of rhyming lines forms a unit. For instance:
o The moon above shines bright and true (A)
o Reflecting in the morning dew (A)
o The trees sway gently in the breeze (B)
o As whispers echo through the trees (B)
The AABB rhyme scheme offers a sense of closure and finality with each pair of lines.
3. Free rhyme
Occasionally, Frequency generates poems with irregular or free rhyme schemes, where rhymes appear sporadically or not at all. This allows for more fluid, less predictable poems, though the absence of strict rhyme can also create a more open-ended or abstract effect.
Principles of the Frequency generator
The Frequency generator is built on several principles that guide the creation of its poems:
1. Randomization within constraints
While the content of the poems is randomized, the structure (syllabic patterns, rhyme schemes) is tightly controlled. This combination of randomness and constraint allows for a blend of predictability and surprise. The generated language may be unpredictable, but it is always organized into recognizable poetic forms.
2. Modularity and repetition
The generator works by drawing from a pre-determined corpus of words, phrases, and syntactical structures. These modules are combined in different ways, allowing for a virtually infinite number of combinations. Despite the repetition of certain elements, the randomness ensures that no two poems are identical.
3. Sound and meaning
Although the poems are generated by a machine, Frequency prioritizes sound through its adherence to rhyme schemes and syllabic counts. This focus on sonic elements helps the poems retain a sense of musicality and cohesion, even when the meanings of individual lines might be abstract or fragmented.
4. User interaction
The generator is designed for user engagement, allowing readers to produce and explore multiple iterations of poems by interacting with the platform. This interaction encourages readers to reflect on the tension between human and machine creativity.
Scott Rettberg's Frequency offers a fascinating example of how algorithmic constraints can generate meaningful poetic output. By adhering to strict syllabic forms and rhyme schemes while allowing for randomized content, the Frequency generator produces poems that blend structure and spontaneity. The key constraints—syllabic patterns and rhyme schemes—ensure that the generated poems feel both familiar and novel. Ultimately, Frequency exemplifies the potential of digital poetry to explore the boundaries of human and machine collaboration, offering a new mode of creative expression that challenges traditional conceptions of authorship.
(Rotova Kira)
Thank you, Kira!
УдалитьMind Map - https://xmind.ai/share/zWXDXkWI?xid=rfE1yS2v
ОтветитьУдалитьSummarizing :
Main Constraints
Syllable Count:
The generator often uses a specific syllable count for lines, such as 5-7-5 (common in haikus) or variations that fit within a predetermined range. This constraint dictates the rhythm and flow of the poem.
Rhyme Schemes:
The generator may implement traditional rhyme schemes (e.g., ABAB, AABB) or more complex patterns that create internal rhymes or multi-line rhymes. This contributes to the musicality of the resulting poems.
Thematic Constraints:
Specific themes or words may be included or excluded based on the algorithm's parameters, offering a conceptual framework within which the poems are generated.
Lexical Choices:
The vocabulary used in the poems often draws from a particular lexicon, which could include technical jargon, emotional language, or phrases pulled from a predefined database, contributing to the thematic consistency.
Syllabic Forms
Hexameter: Six syllables per line, creating a lyrical yet structured verse.
Pentameter: Five syllables per line, often allowing for a more conversational tone.
Tercets: Groups of three lines, which may adhere to a specific syllable count per line and can create a compact, impactful expression.
Rhyme Schemes
Couplets (AABB):
Two consecutive lines with end rhymes. This scheme leads to a sense of closure at the end of each couplet.
Example structure:
The moon shines bright (A)
Found under night (A)
A star burns low (B)
A quiet glow (B)
Alternating Rhyme (ABAB):
Lines alternate between two rhyming sounds, which can create a lyrical quality.
Example structure:
The winds do blow (A)
Through every tree (B)
With whispers low (A)
In harmony (B)
Enclosed Rhyme (ABBA):
The first and fourth lines rhyme, as do the second and third, creating a more intricate sound structure.
Example structure:
In shadows deep (A)
The secrets lie (B)
Where echoes sigh (B)
The memories keep (A)
The constraints utilized by Scott Rettberg in "The Frequency" serve to not only generate rich and varied poetry but also to explore the intersection of structure and creativity in digital literature. By manipulating syllable counts and employing different rhyme schemes, the generated poems reflect both a playful and thoughtful approach to language, offering new experiences in reading and interpretation.
________Constraints___________
ОтветитьУдалить1) rhyme scheme: the pattern of rhymes at the end of each line. Common schemes include AABB, ABAB, and ABCB.
In the stillness of the night, (A)
Stars above shine oh so bright. (A)
Whispers soft, the moonlight glows, (B)
In the dark, a secret flows. (B)
2) syllable count: the number of syllables in each line. A common count is the five-seven-five structure of a haiku.
The leaves gently fall, (5)
Dancing in the autumn breeze, (7)
Nature’s soft embrace. (5)
3) character count: the total number of characters in a line, including spaces and punctuation. This can be used to create concise and impactful lines.
In the quiet, shadows creep, (30)
Secrets whispered, dreams to keep. (30)
Time stands still, the world asleep, (30)
In the night, our thoughts run deep. (30)
________Syllabic forms_______
Удалить1) Haiku.
A haiku is a traditional Japanese poetic form consisting of three lines with a syllable pattern of 5-7-5.
ASK FOR SOMETHING BIG
that is your long day
an even hand will do you good
two who will even try
2) Tanka.
A tanka is another Japanese form that extends the haiku, consisting of five lines with a syllable pattern of 5-7-5-7-7.
IS IT MY TURN
different people
as you turn away from me
can you tell me why
from your mother to the end
me much the same as before
3) the Oulipan snowball form (by word, syllable, and character count).
The Oulipian snowball form is a playful structure where each line increases in length based on word, syllable, or character count.
MOVE OR THEY WILL GET YOU
or not
even if
take out
turn away
do me good
small house
name the day
oil and water
good way to go
follow that man
see how they try
to number the day
give it a look see
well that was a day
or you could ask why
if you and I were one
did you play with them
one will not be with us
what need have you of us
mother would like to know
any answer is good for now
which land do you come from
right may still mean a thing
who would write such a letter
where did you think I would be
the boy in you should turn back
right or just all the same to me
name is a study in the way of man
go study and learn about the world
now there is an animal in the house
is the picture different than before
what would you take back if you could
ask why they think they have the right
America will be over before you know it
her look was such that he would not know
then you can show me what you are made of
was a long time back America was different
(by character)
4) "Two Towers"
The Two Towers form consists of two stanzas, each with a different syllabic pattern. The first stanza has a 4-4-4-4 syllable structure, while the second has a 6-6-6-6 structure.
SAY WHAT YOU HAVE FOUND
see how they try about where we came from
answer my letter which part will you play
take me with you three is no great number
follow your part as you turn away from me
put through that two were here before you
around her place the house was not a home
you must be kind what hand is this so old
answer my letter see how little they know
around her place it would work in the end
see how they try which word did you write
learn to move on her land is not your own
man must ask why are you more than animal
answer my letter old place is still there
5) "Foursquare"
The Foursquare form is structured with four stanzas, each containing four lines. The syllable count for each line is typically 8 syllables.
WOULD YOU LIKE TO KNOW
did you see a different end to this
now there is an animal in the house
for our people we found little here
of his time picture a long way down
so why is it not good
such is how they work
through one long year
do it for your mother
may you play your part well
we need you to be different
change the picture a little
same as the three before it
way different than before
right where it was before
that picture may part men
after you were well again
6) "Doubling"
The Doubling form involves repeating lines or phrases, typically doubling the length of the poem with each repetition.
ME I WILL NOT TURN AWAY
new you
who is still there
think about how you would change it
your animal must be put down
was air between us
so what
______Rhyme schemes__________
Удалить1) Shakespearian
The Shakespearian rhyme scheme, also known as the English sonnet, consists of 14 lines divided into three quatrains followed by a couplet. The rhyme scheme is ABABCDCDEFEFGG.
2) Spenserian
The Spenserian rhyme scheme is a variation of the Shakespearian form. It consists of 14 lines divided into three quatrains and a couplet, with the rhyme scheme ABABBCBCCDCDEE.
SET FOR NOW
at the time he could still learn a thing or two
say can you do a thing for me
animal can part you in two
would you like to see
say that you need me
sentence the boy as a man
take it from me
sentence the boy as a man
away from that man
way into each other
answer me if you can
all we need is water
read on and see if an answer can be found
turn around
3) Petrarchan
The Petrarchan rhyme scheme, also known as the Italian sonnet, consists of 14 lines divided into an octave and a sestet. The octave follows the rhyme scheme ABBAABBA, while the sestet can vary but often follows CDCDCD or CDECDE.
THERE WAS A WAY
back of my hand
year can use up a man
be a man
animal from the water to land
from our home to your land
find your old man
write me when you can
she went to another land
follow you where you go
so do you need me
were you down all day
all must know where to go
answer me
through another way
4) Terza rima
Terza rima is a three-line stanza form with an interlocking rhyme scheme of ABA BCB CDC, and so on. It is often used in longer poems.
AIR DID NOT MAKE HIM FEEL WELL
then we will know
found out about you
here is the place you will go
has she now made do
or we could set out for a new land
know that I need you
many would have this land
into the new day
through my own hand
boy I do not know what to say
down on me
time will take it away
Task 4. Extending
Удалить1. Constrained writing practice
The project employs specific constraints to guide the creation of poetry and prose. This method encourages creativity within limits, resulting in a coherent narrative that emerges from structured rules.
2. Hypertextual narrative
The Frequency Project aims to create a hypertext that offers multiple reading experiences. Each reading session can reveal different fragments of the narrative, allowing readers to engage with the text in varied ways.
3. Collective (Un)consciousness
The project explores the concept of collective consciousness by using commonly used English words and popular Flickr tags. It questions whether a narrative derived from these elements can reflect shared human experiences or consciousness.
4. Creative commons licensing
The work will be released under a Creative Commons non-commercial attribution license. This encourages others to remix and adapt the work while maintaining respect for the original creation, promoting a culture of sharing and collaboration.
5. Interconnected Poetry and Prose
The Frequency Project is not just a novel; it also functions as a poetry project. The poetry and prose are interconnected, with each prose piece responding to a specific line of poetry and a corresponding photograph.
6. Atomistic fiction
The project embodies the idea of "atomistic fiction," where the narrative is composed of distinct moments that can stand alone. Each moment contributes to the overall story while also being meaningful in isolation.
7. Multi-platform delivery
The Frequency Project aims to be accessible in various formats, including blogs, poetry generators, hypertext novels, print books, and mobile-friendly versions. This versatility allows for a broader audience reach and engagement.
The idea of the Frequency Project is to explore contemporary American life during the late age of terror through a unique blend of poetry, prose, and visual art. By utilising constraints and collective elements, the project seeks to create a rich, multi-dimensional narrative that reflects both individual and shared experiences. The intention is to release the work in stages, allowing readers to engage with the evolving story while also encouraging them to participate in the creative process through remixing and sharing. As the project develops, it aims to challenge traditional storytelling methods and foster a deeper connection between the text and its audience.
Mind map: https://i.postimg.cc/pPxwZqPY/image.png
Удалитьhttps://drive.google.com/file/d/1JGssckvBK-X7xwEGw_WL9UTjlhb9NdoO/view
ОтветитьУдалитьEssay
What are the main principles of the Frequency generator?
In this work we discuss a writing project called "Frequency," inspired by the
Oulipo literary movement. A poetry generator is the first release of a larger
constrained writing project, which will include a 2000-node novel. Its verbal data is
two hundred of the most common English words which are the basis for two
thousand lines of all the poems. The lines of all the poems in Frequency are
constrained by the fact that it was used only 200 of the most common English words
in them, it could be called “limited vocabulary”. The poems generated by Frequency
are built from a pool of 2000 lines. Prose texts include words from a sequence of
commonly used English words, starting with "frequency".
The project aims to create a coherent narrative about contemporary American
life during the “late age of terror”. The author explores constrained writing that
results in a coherent narrative and hypertext for multiple reading experiences. The
project investigates the idea of collective (un)consciousness through commonly used
words and photo tags.
The program generates poems based on various rhyme schemes, syllabic
forms, and original models. From one hand, the program faces challenges in creating
coherence in longer forms like Terza rima and sonnets, from the other hand, it
includes Japanese forms like tanka, with specific rules for line selection, titling or
original models like “Two Towers” and “Four Square”. For example, the “Two
Towers” form allows for multiple reading approaches: individually, sequentially, or
line by line. The reading is intended for multiple platforms: blog drafts, poetry
generator, hypertext novel, print book, and mobile phone.
Overall, the project aims to create innovative literature through constrained
writing techniques, exploring new forms of narrative and poetic expression. It
explores “atomistic fiction”, composing a novel of distinct “narrative moments”.
Shtraukh Maria, POm-31
Syllabic Forms in Frequency
ОтветитьУдалитьIn "Frequency", Rettberg uses fixed syllabic forms across the poems, which gives the output structure, rhythm, and musicality. The syllabic constraints define the number of syllables per line in each stanza.
The common syllabic patterns found in "Frequency" include:
• 5-syllable lines: These lines consist of exactly 5 syllables, which create a concise and tightly controlled rhythm.
Example:
"The moon is rising"
(5 syllables)
• 7-syllable lines: Lines of 7 syllables add more room for variation and nuance, maintaining a structured yet flexible form.
Example:
"Across the darkening sea"
(7 syllables)
Rhyme Schemes in Frequency
Rettberg also employs specific rhyme schemes to create cohesion in the poem, with certain predictable patterns used to generate rhymes at the end of lines. These schemes lend the poems a sense of formal poetic tradition, despite their algorithmic generation.
Some of the rhyme schemes observed in "Frequency" are:
• AABB (couplets): In this pattern, the first two lines rhyme with each other, followed by another rhyming pair. This scheme creates a natural flow and often concludes ideas in pairs.
The moon shines bright tonight (A)
The stars begin to glow (A)
The clouds are soft and light (B)
And whisper as they blow (B)
• ABAB (alternate rhyme): Here, the first and third lines rhyme, as do the second and fourth. This is a common poetic rhyme scheme that maintains variety in sound.
The sea is cold and deep (A)
The waves crash loud against the shore (B)
The sailor starts to sleep (A)
And dreams of land once more (B)
Structural Features of the Poem are: fixed syllable count, structured stanzas, consistent rhyme.
What are the main principles of the Frequency generator? Read the Frequency Project Introduction and explain the main idea of the project.
Main Principles of the Frequency Generator:
1. Constrained Vocabulary. The poems are generated using the 200 most frequently used words in the English language.
2. Generative Poetry. Rettberg uses a coding system that generates poems randomly but within predetermined syllabic and structural constraints (e.g., haiku, sonnets).
3. Poetic Forms. Frequency utilizes multiple poetic forms, including sonnets, haikus, and others. Each form has its own structural demands.
4. Hypertext and Fragmentation. Rettberg also explores how the generated poems can form part of a larger hypertext narrative.
The Frequency by Scott Rettberg is an example of digital poetry that creates poems using
ОтветитьУдалитьparticular formal limitations. Since the poems in The Frequency are produced by an
algorithm, their structural characteristics center on syllabic forms, rhyme schemes, and
computer randomness. An explanation of The Frequency's primary restrictions is
provided below:
1. Forms of Syllabic
The Frequency has a well-defined and consistent syllabic structure that adheres to a
particular pattern across the lines. The created poems have lines that follow a
predetermined amount of syllables. Despite being randomly generated, the syllabic forms
frequently conform to conventional poetic forms.
For example:
• 5 syllables per line: One common form in The Frequency uses a five-syllable line
structure. This creates a rhythm that is familiar in many types of traditional poetry,
including Japanese forms like haiku.
• 7 syllables per line: Another frequently used syllabic form is the seven-syllable
line, which adds a layer of complexity to the rhythmic flow.
2. Rhyemes Schemes
Rettberg incorporates rhyme schemes into the generated poems, but due to the nature of
algorithmic generation, the rhyme schemes can vary between traditional and irregular
patterns. Some of the rhyme schemes observed include:
* AABB: A simple couplet rhyme pattern in which line pairs rhyme. This is a quick and
easy method for making brief poetic forms cohesive.
* ABAB: This rhyme scheme alternates between the first and third lines and the second
and fourth lines. This gives the poem's structure additional diversity and dynamic flow.
* AAAA: A quatrain in which every line rhymes. This kind of rhyme system, which
emphasizes sound repetition, can have a sing-song feel.
3. Repetition of Words and Phrases
The Frequency uses repetition of words and phrases in addition to syllables and rhyme.
Even though the algorithm incorporates random elements into the created lines, this
recurrence lends thematic coherence. The repetition of specific terms or expressions.
Randomness and Variation
Despite the formal constraints of syllabic structure and rhyme, The Frequency also relies
on randomness as part of its generative process. This allows for a mix of predictability
(through syllable count and rhyme) and unpredictability (through word choices and the
algorithm's randomness).
- Main Constraints in Scott Rettberg's Frequency Generator
ОтветитьУдалить1. Syllable Count: Each line follows a specific syllable count, promoting rhythmic consistency (e.g., lines may have eight syllables).
2. Predefined Vocabulary: A fixed dictionary limits word selection, influencing thematic and stylistic aspects.
3. Structural Patterns: Poems follow specific structures, such as quatrains (four-line stanzas), ensuring uniformity.
- Syllabic Forms and Rhyme Schemes
1. Fixed Syllable Count:
• Each line has a predetermined number of syllables.
• Example: "The sun sets softly on the sea."
2. Variable Syllable Count:
• Lines vary in syllable count but follow a specific pattern.
• Example: Alternating lines like "The night is calm" (6 syllables) and "Stars twinkle brightly in the sky" (8 syllables).
- Rhyme Schemes:
1. End Rhyme (ABAB):
• Alternating lines rhyme (first with third, second with fourth).
• Example:
• Line 1: "The wind whispers through the trees" (A)
• Line 2: "As shadows dance and play" (B)
• Line 3: "A gentle sigh upon the breeze" (A)
• Line 4: "In twilight’s soft array." (B)
2. Internal Rhyme:
• Feature: Rhyme occurs within a single line or between lines.
• Example: "The light ignites the night so bright."
3. Free Verse with Occasional Rhyme:
• No strict rhyme scheme, but includes sporadic rhymes.
• Example: A free verse line like "The river flows, a silent song," followed by a rhymed line, "While stars above begin to throng."
These constraints and forms shape the unique characteristics of poems generated by Frequency.
The main principles of the Frequency generator are:
1. An obviously constrained writing practice that nonetheless results in a coherent narrative.
2. A hypertext intended to deliver multiple fragmentary but coherent reading experiences in multiple reading sessions.
3. The idea of the collective (un)conscious — will a text derived in part from the words most often used and in part from the tags that people most often choose to put on their photographs in some way reflect a collective consciousness (or not)?
4. A Creative Commons fiction, released under a CC non-commercial attribution license, encouraging remixing.
5. A story that is also a separate but related poetry project.
6. The idea of “atomistic fiction” — writing a novel that both “works” in whole and is composed of distinct “narrative moments” that can be isolated from each other.
7. Creating a work that could be delivered in different ways (and in different formations) across various platforms, such as blogs, poetry generators, hypertext novels, print books, and mobile formats.
Scott Rettberg's Frequency project is an innovative exploration of generative poetry that utilizes computational techniques to create new poetic texts. The project employs specific constraints, syllabic forms, and rhyme schemes to generate its poems, showcasing the interplay between technology and creative expression.
ОтветитьУдалитьMain Constraints Used in Frequency
Syllabic Constraints:
The generator often adheres to specific syllable counts per line, which can create a rhythmic structure. For example, poems may be generated with lines consisting of a fixed number of syllables, such as 8 or 10 syllables per line.
Rhyme Schemes:
Frequency employs various rhyme schemes, including:
Couplets (AA): Two lines that rhyme with each other.
Alternate Rhyme (ABAB): The first and third lines rhyme, as do the second and fourth.
Enclosed Rhyme (ABBA): The first and fourth lines rhyme, enclosing the second and third lines.
These schemes allow for a structured yet flexible approach to poetic form.
Lexical Constraints:
The generator may use a specific lexicon or set of words, which can be drawn from various sources, including existing literary texts. This can influence the thematic and stylistic aspects of the generated poems.
Structural Features:
The poems generated by Frequency often feature consistent line lengths and stanza structures, which contribute to the overall cohesiveness of the work. For example, a poem might consist of quatrains (four-line stanzas) or tercets (three-line stanzas).
Types of Syllabic Forms and Rhyme Schemes
Syllabic Forms:
Iambic: A common metrical foot consisting of an unstressed syllable followed by a stressed syllable. For example, "da-DUM."
Trochaic: A metrical foot with a stressed syllable followed by an unstressed syllable. For example, "DA-dum."
Anapestic: A metrical foot with two unstressed syllables followed by a stressed syllable. For example, "da-da-DUM."
Dactylic: A metrical foot with a stressed syllable followed by two unstressed syllables. For example, "DA-da-dum."
Main Principles of the Frequency Generator
Generativity:
The primary principle behind Frequency is the generative nature of the poetry, allowing for the creation of unique poems based on specific input parameters and constraints.
Algorithmic Composition:
The project relies on algorithms to determine the structure and content of the poems, which can lead to unexpected and novel poetic outcomes.
Exploration of Language:
Frequency encourages exploration of language and its possibilities, pushing the boundaries of traditional poetic forms by using computational methods.
Interactivity:
Users may interact with the generator, influencing the output through their choices or inputs, which adds a layer of engagement and personalization to the poetic experience.
Main Idea of the Frequency Project
The Frequency Project serves as an exploration of the intersection between technology and poetry. By utilizing a generative framework, Rettberg aims to investigate how algorithms can produce meaningful and aesthetically engaging texts. The project challenges traditional notions of authorship and creativity, inviting readers and users to engage with poetry in new ways. The main idea revolves around the potential of digital tools to expand the possibilities of poetic expression, allowing for a dynamic interplay between human creativity and machine-generated content. This innovative approach not only highlights the capabilities of computational poetry but also raises questions about the nature of literature in the digital age, ultimately redefining the relationship between the reader, the text, and the author.
What are the main constraints that are used by Scott Rettberg in his generator the Frequency?
ОтветитьУдалитьThere are Oulipian constraints, for instance, in the “Four square” and “Two towers”.
The “Two Towers” poems generate two character-based stanzas next to each other. This form presents multiple ways of reading these stanzas: individually, sequentially, or line by line to form new line combinations.
The “Four Square” poem has four four-line stanzas selected by character length. Some of the lines in the generated poems may be repeated in the first two stanzas (because they are generated from an automated array), which give the poem a refrain-like tone.
What types of syllabic forms and rhyme schemes does he use to generate his poems? Explain each of them by listing its structural features using the examples from the Frequency.
The Japanese Tanka is represented as a 5-line poem in which the first and third lines are selected from the 5-syllable line array, and the second fourth and fifth are selected from the 7-syllable array. A title is selected randomly from among all the lines in the data set. In a short poem like this, the title is probably the most important line because it sets up the conceptual frame by which the whole poem will be interpreted.
Haiku became prominent in Imagist Poetry because of their compression and focus on images. Consisting of three lines— a 7-syllable line preceded and followed by a 5-syllable line— this form juxtaposes images, along with an understated comment and a seasonal reference. Haiku were used to punctuate moments in larger poetic sequences, thought they are often read and appreciated in isolation.
Haiku are not difficult to generate based on syllable count, and non-sequiturs actually suit the form nicely because they allow readers, but the seasonal or natural reference is trickier, given that only four words in the original data set— water, air, animal, and oil— belong to nature. Knowing about the thematic constraint helps, because the mind will interpret seasonal references in the context of the form when it might not have otherwise.
Rettberg is no stranger to inverting a nature reference with an urban one, as he did with Tokyo Garage, but there aren’t many more urban words in the original data set. These 200 most common words (“these base units of our language” as he intuitively calls them) seem to be very close to the core of human experience: basic needs, such as relationships with other people. It is little surprise that the lines he wrote revolve around human relationships, as can be seen in the haiku above (and many others).
What are the main principles of the Frequency generator?
The main idea of the project is to explore the intersection of language, data, and poetry. It involves generating machine poems based on the frequency of words in a given text.
The main principles:
Word Frequency: The project analyzes the frequency of words in a text, capturing their occurrence patterns.
Algorithmic Composition: Using code, it generates poems by manipulating word frequencies. Each poem is a unique arrangement of words.
Oulipian Constraints: Inspired by the Oulipo movement, the project imposes constraints on word selection, creating unexpected and playful results.
Data-Driven Creativity: By treating language as data, the Frequency Project demonstrates how algorithms can shape poetic expression.
Part 1
ОтветитьУдалитьSummarizing:
- The generator uses a sequence of the most commonly used English words, beginning with "frequency." This constraint ensures that the generated texts remain accessible and relatable to a broad audience.
- The project incorporates the 100 most common Flickr tags, which serve as thematic prompts for the generated poetry. Each poem corresponds to a specific tag, linking visual imagery with textual expression.
- The use of Creative Commons licensed photos has an impact on the content and at the same time motivates a community of remixing and collaborative creativity.
- The poetry and prose are structured to allow for fragmentation, where individual lines or stanzas can stand alone while still contributing to a larger narrative.
- rhyme scheme, syllable count, and character count
TOO STILL
men know not what they do
other than what you see
old letter from you
follow me
so do you need me
said way out there man
number two before three
he will help when he can
you are an oil man
went to see your mother
follow that man
are you part of the answer
about that sound
about that sound
1. The poem primarily has free verse, characterized by a lack of consistent meter or rhyme scheme. This form allows for a more natural flow of thought and expression, at the same time reflecting the conversational tone of the poem. The lines vary in length and syllable count, creating a sense of spontaneity.
2. Repetition is a notable feature in the poem ("follow me", "about that sound"). It highlights specific ideas and contributes to the poem's thematic depth. The repeated phrases often serve as anchors, guiding the reader through the poem's exploration of relationships and existential questions.
3. Many lines in the poem are succinct, containing only a few syllables. This brevity can create a sense of urgency or intensity, as seen in lines like "men know not what they do." The short lines also allow for pauses and spaces that enhance the poem's reflective quality.
MORE NUMBER THAN WORD
or not
so what
good try
sound off
air it out
get with it
use me again
before you go
up with mother
my turn is over
into the picture
no answer for you
well that was good
picture of our time
need to live with it
my home is not a land
line out to our people
again your answer is no
make the man a boy again
name the man who did this
be not long away from home
would the answer change you
our part in this is not kind
large number of men after you
but you would not say the word
found it after a very long look
at home we try to change our way
animal will follow you to the end
them they are not from around here
it could come from water or the air
number one came down to look for you
before you tell us which man did this
a just people would make another world
on the day your boy would part from you
her look was such that he would not know
like a small animal that could not change
was a long time back America was different
1. Free Verse: The poem primarily utilizes free verse, which means it does not adhere to a specific syllabic count or meter.
2. Lines vary in length, with some containing fewer syllables while others are more extended. This variation creates a dynamic reading experience and emphasizes certain phrases.
3. Many lines contain between 5 to 10 syllables, which is common in contemporary poetry. This range allows for both brevity and depth in expression.
4. The poem does not follow a consistent rhyme scheme throughout. This irregularity reflects the themes of uncertainty and complexity present in the content.
5. There are instances of internal rhymes, where words within the same line rhyme.
6. The poem makes use of assonance (repetition of vowel sounds) and consonance (repetition of consonant sounds) to create subtle sonic connections between words.
by Savina Anastasia POm-31
Part 2
ОтветитьУдалитьExtending:
What are the main principles of the Frequency generator? Read the Frequency Project Introduction and explain the main idea of the project (essay 15-20 sentences).
The Frequency Project is content literary project. It has an exiting design. It is highly influenced by the Oulipo movement which is famous for its constraints in poetry, prose and other forms of writing.
Frequency generator is a device designed to generate poems according to the certain rules. Web page is updated after a certain time interval. Frequency generator encourages the readers to look at the literature differently. It shows us that creativity exists within constraints, and that such constraints can even generate order from chaos, or at least from random-looking details.
There is the base of the 100 most frequently used Flickr tags as the tag clouds from which the generated poetry and prose are derived. The project uses ready-to-use content in society, using tags as the basis. Furthermore, the generator uses Creative Commons photos. They are dumped into the text to excite the readers. Every poem is written to fulfill the image and a portion of the poem befitting that particular image.
The Frequency Project is also concerned with producing a particular type of narration called hyperfiction. The readers are able to read the story untidily but still understand the message in it. Separate moments of the narrative can be taken out and enjoyed on their own while still furthering the narrative in its entirety.
What is more interesting and should be taken into account is that the Frequency Project has an open access and builds upon existing work.
As for me, it was a really interesting experience to work with that generator. I haven’t even thought that such tools exist and they are able to generate POEMS! It’s unbelievable!
by Savina Anastasia POm-31