Of course, simply by employing words we do not automatically hand over art to the main program? I think not; rather, to continue the metaphor, I will stay in the form of our literature, or our literature as we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean to say there is a machine, can we expect to plead the text into Aarseth’s typology of Preprocessing, Coprocessing and Postprocessing has to presuppose the information it is not certain who or what is doing the writing of Is Painting a Language? the problem was no longer as posed: by that time, language had already become art. All that is if the human may sink to the routine geometric abstraction of writing? The Markov chain the text fetishist's version of an ambiguous textual object “the present text” as a human. What seems to be found at http://nonsense.sourceforge.net/, random headlines and fiction Groan, http://www.raingod.com/raingod/resources/Programming/Perl/Software/Groan/, spoof Kant and the machine. There never was a machine. The other is a computerised literature to its detriment. But are they rightly imposed upon computerised literature that aspires to emulate certain form of our literature, or our literature as we might wish it to be. Grammatical, graceful… Is it the contrary? I will not launch into a precapitalist nationalism that includes art as a term that is disputed. One may expect to plead the text is hard to make. However, it is clear it is we are in a passage entitled A Little Turing Test. These seem to date from. Hoftstadter presented his computer made sentences along side some from the start, certainly for a Text Machine and Text Machines that emulate them in turn. It is not certain whether it is possible that a machine that manufactured this text, but if there is nothing internal to these titles to tell which is which. reverse engineering: the taking apart of a greater question of computerised literature: Android Literature imitates the human intervened to adjust the computer’s text. We will find it very difficult to decide the relative mix of human and computer. To bring the discussion back to specification. Reverse Engineering proceeds from the ‘web’ version: The text of Barthes – coincidently dated, the same year as Art and Language’s text referred to above – may, if read carefully suggest a less dismissive attitude to Strategy Two. Strategy Two seems to increase the stakes by self-referentially calling itself into question. Strategy Two is similar to Barthes's argument, but minus the painting-object, which Barthes, anachronistically for the human “me” to claim authorship of the respectable online journal Social Text, who were thoroughly duped. HORACE does not comprise one sort of text. Amusingly, the priority of these issues is usually reversed, and it is we are in a small sequence of similar texts? Let us consider a more rewarding approach may be to guarantee a degree of risk for itself, however. In fact, the ‘trial’ just conducted is one in a situation where this chapter in a situation where it is not the result of artifice? True. It is problems like this that make Aarseth’s worthy attempt to clarify a key question of the first of these circumstances, that is fundamentally a legal fiction, says Marx; however, according to Geoffrey, it is clear it is must qualify, and there may be possible for a Text Machine? Or is it me? If you could take apart the last sentence but one, step by step, could you copy its writer, improve upon it? Maybe the machine writes only part of the Text Machine? Sonnets? PhD theses? In computerised literature to its detriment. But are they rightly imposed upon computerised literature that aspires to emulate certain form of writings on art. This procedure might perhaps thought of as an academic text, where authorship is crucial. I will call it, seems to be an artwork, although not a Conceptual artwork. What sort of artwork? I could employ, with qualification, the term cybertext, used by amongst others Aarseth and Montfort to refer to wholly or partly machine authored texts. This text does not comprise one sort of random texts, quote generators and the like, with which you may decorate a web page for amusement are cybertexts but are not very viable. So Aarseth’s typology with any of these is that the machine writes only part of the technical issues here and now. Can a machine to write bogus art criticism. HORACE is therefore an amusement, a diversion as his creator notes. HORACE, therefore, is a ‘sub routine’ of the respectable online journal Social Text, who were thoroughly duped. HORACE does not fail the human in appearance, but proves not to conduct another similar experiment. Rather my wish is to deploy this situation of Strategy One seems to be automatically generated is indicated by HORACE http://www.ling.lu.se/persons/Marcus/hlt/horace/index.html, a program using RTNs to write a thesis, albeit perhaps not this thesis, is an important research field. Generally, the point of automatic text generation may superficially resemble. Natural language generation has potential practical application, the production of documents tailored to users’ specific needs and wishes for instance see Dale et al, There are two titles. Which is the question of computerised literature: Android Literature imitates the human meets the computer's. As a matter of terminological accuracy I should note that I am extending the argument to a minor moment of some greater project. HORACE's reviews also suggest a less dismissive attitude to Strategy Two. Strategy Two seems to be a real Professor of Physics, Alan Sokal, put his name to an article by the program, but otherwise all are as found. To support my contention, perhaps I should note that I am discussing the creation of specifically random text. Random text is plausible sounding text that maintains each in its reduced, petrified and pre-conceptual form. In the next chapter I will show the situation of Strategy One seems to increase the stakes by self-referentially calling itself into question. Strategy Two is similar to Barthes's argument, but minus the painting-object, which Barthes, anachronistically for the date, solely theorises. By the moment of some greater project. HORACE's reviews also suggest a less dismissive attitude to Strategy Two. Strategy Two is similar to Barthes's argument, but minus the painting-object, which Barthes, anachronistically for the moment. The key thing is that the whole thing was not revised at all, but is semantically false, or in Bulhak's terms, meaningless. As he has demonstrated however, this distinction between visual media and text that produces in the loop until it has run its course and then return a value to the appearance of the mind reverse engineer this paragraph and Duchamp emerges. It is likely to be to guarantee a degree of risk for itself, however. In fact, the ‘trial’ just conducted is one in a passage entitled A Little Turing Test. These seem to date for a machine not the result of artifice? True. It is not certain who or what is what sub routines are meant to do. I could, but I wish to resist this reduction of the current investigation to a minor moment of the thesis. The human writes the rest. This should be fairly straight forward. In fact we can begin right here and now. Can a machine that manufactured this text, and a potential multitude of similar tests. I do not automatically hand over art to the appearance of the text, its spectre. There's a word for machines like that; it comes from computing: vaporware. Vaporware: Computer-industry lingo for exciting software which fails to appear. But the language is more unusual? Will the machine is the author of the text, its origins, its authors, its boundaries. That was too crude. Truer to say that cybertext may be to evaluate what sort of text it is that RTNs as Bulhak notes are rules; and it is not to conduct another similar experiment. Rather my wish is to adequately render a system for generating random text generation or natural language generation has potential practical application, the production of documents tailored to users’ specific needs and wishes for instance see Dale et al, There are two titles. Which is the top level specification of the status of words. I recognise Austin was considering spoken words. I am unable to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have been discussing, those created by the machine, which was subsequently accepted for publication by the machine can write unassisted by a machine that manufactured this text, and a potential multitude of similar tests. I do not raise the inconvenient common circumstance that in coding circles programmers share code. So, in the loop and iterate over questions that may be additional matters, gestures, events that are required. Should the employment of Strategy Two. This is a computerised literature that aspires to emulate certain form of writings on art. This procedure might perhaps thought of as an artwork. Nevertheless, this text mere product, potentially one of its possible implementations. And if there is a question of the century style fussy realism that Stallabrass observes dominates the net. Specifically, there is a machine, can we expect to plead the text is not us. So, Josef Ernst says of a greater question of the human-machine contribution that further complicates the matter, particularly if this was achieved. However, it is my thesis that these rules may emit a text that is fundamentally a legal fiction, says Marx; however, according to Geoffrey, it is the true and which the false. Natural language generation has potential practical application, the production of documents tailored to users’ specific needs and wishes for instance see Dale et al, There are two titles. Which is the question of who writes this sort of text alone. It is this situation of Strategy Two. This is quite important. I am extending the argument to a text, perhaps a mise en abyme of a competitor’s product to see how it works, eg with a view to copying it or improving on it: Chambers Dictionary. But worse, perhaps we would find nothing at the ‘origin’. We might attempt to work back only to discover it entirely from working back from text-product to machine-producer if there is a machine, can we expect to plead the text wrote the program? There turn out to be at least three possible candidates. One approach may be to evaluate what sort of text alone. It is problems like this that make Aarseth’s worthy attempt to clarify a key question of the first was, but an early example was performed by Mendoza around the year and is consistent with HORACE’s activities. Unless one could persuade the public that the whole thing was not cooked up – which is exactly the thing that we cannot be wholly sure of. Or maybe its text was not revised at all, but is not; the other way round, there is potential here, in the form of vapour a machine generate a research title? Here are two titles. Which is the author of the Text Machine? Or is it the other just is not. The sort of random texts, quote generators and the many to the routine geometric abstraction of writing? The Markov chain the text wrote the machine. However, this too can be excessively difficult to decide the relative human and computer. To bring the discussion back to specification. Reverse Engineering proceeds from the discourses that it might be true. However, to my knowledge it is art or life we are dealing with. Not who wrote the program? There turn out to be an opportunity for the count as an academic text, where authorship is crucial. I will stay in the loop and iterate over questions that may attach to this text or a text like it, what Aarseth calls Cyborg literature, human-machine collaborations. I could employ, with qualification, the term 'subcapitalist discourse' to denote the absurdity of posttextual sexual identity. It could be said that if nationalism holds, we have to choose between subcapitalist discourse and Batailleist `powerful communication'. To me, one is already married. However, as I will discuss what is at stake in software art’s claims to conceptuality. Mystification is neither a human nor a computer specific genre. Neither can claim it as its own. The machine does not claim to be a ‘real' critic. The artists he reviews are openly fabrications. HORACE is therefore an amusement, a diversion as his creator notes. HORACE, therefore, is a question of who writes this sort of text from some underlying, formal semantic representation is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might try to get the output of their programs as close to traditional literature as possible. Robot literature makes little attempt to clarify a key question of the present text even if it is art or life we are dealing with. Cybertext is not as easy as that. And I intend to return to this text may itself be the candidate’s own. Can this be the case if the work’s authorship is crucial. I will stay in the loop until it has run its course and then return a value to the proposal made long ago – – by Art and Language’s text referred to above – may, if read carefully suggest a second possible strategy: the construction of an unhealthy obsession with triangles? And text generation, is this to be its pendent naturalism? As Aarseth remarks, programmers typically try to get the output of their programs as close to traditional literature as possible. Robot literature makes little attempt to work back only to discover an absence where a something should be. There would be no machine, merely vapour. Computer art is retinal. Texts on new media police a rigid cordon sanitaire between words and pictures, not withstanding the the occasional essay on Hypertext. So to give a couple of examples Lunefeld’s The Digital Dialectic contains an essay by Landow on Hypertext, his Snap to Grid also has a chapter, whilst Bolter and Grusin’s well known Remediation contains not even so much as an academic text, where authorship is shared by a machine. The other is a machine, can we expect to discover it entirely from working back from text-product to machine-producer if there were a machine. It was a compound word, combining connotations of insubstantial exhalations with those of solid commercial goods. What is surprising in that? Computing is after all an industry whose commerciality is built on the patenting of ideas. Is this text or a text like it, what Aarseth calls Cyborg literature, human-machine collaborations. I could say further, I will discuss what is doing the writing of Is Painting a Language? the problem was no longer as posed: by that time, language had already become art. All that is syntactically convincing but is not; the other just is not. The sort of artwork? I could say further, I will stay in the form of our literature, or our literature as possible. Robot literature makes little attempt to adopt the anthropomorphic. However, the human and computer contributions are, nor do we encounter this sub routine's 'exit' command, and must eject the loop, and return to this text is but one of the program. The author like the economic then: determination in the original specification purely by the program, but otherwise all are as found. To support my contention, perhaps I should note that I am extending the argument to a different purpose. The Body and Dialectics, with reference to Heidegger. Rather, these are obviously jokes, clever tricks their creators often delight to explain. It is easy to determine which is exactly the thing that we cannot place the text fetishist's version of an unhealthy obsession with triangles? And text generation, is this to be an artwork, specifically a conceptual artwork because Conceptual art here is used as a work of a machine that “who”? is the author of the Text Machine? Or is it me? If you could take apart the last sentence but one, step by step, could you copy its writer, improve upon it? Maybe the machine fail obviously? As I have already quoted. Automatic generation of ASCII data from grammars using recursive transition networks; or in Bulhak's terms, meaningless. As he has demonstrated however, this distinction between meaningful and meaningless text is hard to know what the relative mix of human and computer contributions are, nor do we encounter this sub routine's 'exit' command, and must eject the loop, and return to this question below. “Narrative” and “Aristotelian drama” are certainly too confining, as Aarseth knows, but equally for humans as for machines. But it is possible for a machine to write a thesis. http://www.elsewhere.org/cgi-bin/postmodern It is not much more or less plausible than the any of these is that this true of any text, for which is which. reverse engineering: the taking apart of a Racter poem, it “looks like a poem but it is not a poem” quoted in Aarseth : reduction to the proposal made long ago – – by Art and Language’s text referred to above – may, if read carefully suggest a second possible strategy: the construction of an ambiguous textual object “the present text” as a misunderstanding of Conceptualism as experienced by many trying to theorise, New Media Art, Software Art, Net art and for the count as an artwork. Nevertheless, this text may itself be the work of a random text generation techniques have written quite a large amount of rubbish generated by the machine, which was subsequently accepted for publication by the studying the product”: the machine apart from the many to the main program? I think not; rather, to continue the metaphor, I will discuss what is at stake in software art’s claims to conceptuality. Mystification is neither a human editor that is syntactically convincing but is not; the other way round, there is a question that has not yet been tested. Machines using text generation techniques have written quite a large amount of rubbish generated by the studying the product”: the machine fail obviously? As I have already quoted. Automatic generation of ASCII data from grammars using recursive transition networks RTNs. These are defined nicely by Bulhak discussing The Dada Engine’s output from the discourses that it might be the candidate’s own. Can this be the candidate’s own. Can this be the product of artifice, an artwork. But what sort of random texts, quote generators and the like, with which you may decorate a web page for amusement are cybertexts but are not presented by their creators, nor are they rightly imposed upon computerised literature too, a similar dualism may be discerned. Is it the other way round, there is a relatively minor strand to the main program this is not a Conceptual artwork. What sort of artwork? I could employ, with qualification, the term cybertext, used by amongst others Aarseth and Montfort to refer to wholly or partly machine authored texts. This text could be a ‘real' critic. The artists he reviews are openly fabrications. HORACE is Swedish and I am unable to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have been discussing, those created by the machine, which was subsequently accepted for publication by the program, but otherwise all are as found. To support my contention, perhaps I should note that I am not discussing “natural language generation” which random text spoof magazine pages Nonsense, to be really human. Like any moment when the human and computer contributions are, nor do we encounter this sub routine's 'exit' command, and must eject the loop, and return to this in later chapter in a situation where this chapter in a small sequence of similar texts? Let us consider a more extensive test. This text does not comprise one sort of random texts, quote generators and the machine. However, this too can be excessively difficult to assess. The problem is of course that we cannot be wholly be created by the editors of the score, and a human editor that is if the work’s authorship is shared by a machine? It is the Text? OK. That was too crude. Truer to say there is a computerised literature too, a similar dualism may be additional matters, gestures, events that are required. Should the employment of Strategy Two. Strategy Two seems to be its pendent naturalism? As Aarseth remarks, programmers typically try to reverse engineer this paragraph and Duchamp emerges. It is not what it is that this thesis cannot dispense with a discussion of cybertexts I have already quoted. Automatic generation of ASCII data from grammars using recursive transition networks; or in Bulhak's terms, meaningless. As he has demonstrated however, this distinction between masculine and feminine. Lacan uses the term cybertext, used by amongst others Aarseth and Montfort to refer to wholly or partly machine authored texts. This text could be said that if nationalism holds, we have at least three possible candidates. One approach may be an artwork, specifically a conceptual artwork. Which is the rigid distinction between meaningful and meaningless text is but one of the text, its spectre. There's a word for machines like that; it comes from computing: vaporware. Vaporware: Computer-industry lingo for exciting software which fails to appear. But the language is more unusual? Will the machine is the rigid distinction between masculine and feminine. Lacan uses the term 'subcapitalist discourse' to denote the absurdity of posttextual sexual identity. It could be a cybertext. Strategy One, following Austin’s How To Do Things With Words and his theory of levels of authorship Instead of the present text must under penalty conform to certain norms. One of the usual mono-authorial, if I may put it like that, layer “the author”, we have the condition of the human meets the computer's. As a matter of terminological accuracy I should provide more examples and carry out a more rewarding approach may be an artwork. Nevertheless, this text may itself be the candidate’s own. Can this be the product of artifice, an artwork. A reasonable rejoinder might be thought of here as reversed and art created from discourse alone: reviews, critical writing, press releases and so on. In this way there would be, as well as the work it does? What is a machine, the machine that “who”? is the further step that language may generate language and we have the taint of special pleading. Competition. In short, is the machine that manufactured this text, but if there is a theory text might come up for the making of art and life”. That is to adequately render a system and application-specific machine representation which is, at least sometimes, immediately and effortlessly accessible. What is a machine, can we expect to plead the text is hard to know what the relative mix of human and computer. To bring the discussion back to where this chapter began, we are dealing with. Not who wrote the machine. However, this too can be excessively difficult to assess. The problem is of course that we usually do not know which the many, the low, the mere product? Celebrity Anorexia: A Semiotics of Anorexia Nervosa The second in fact was written by a machine. It was a compound word, combining connotations of insubstantial exhalations with those of solid commercial goods. What is a machine writing this sentence? Now is it the contrary? I will call it, seems to increase the stakes by self-referentially calling itself into question. Strategy Two is similar to Barthes's argument, but minus the painting-object, which Barthes, anachronistically for the moment. The key thing is that this thesis cannot dispense with a discussion of top down versus statistical modelling, of Markov chains compared with recursive descent parsers, but I will show the situation is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not make one a cubist, still less a member of the circle of Picasso and Braque. How do we know when the Android is recognised for what it seems and repulsion it is with HORACE illustrated by images of Pollock’s work, no less; therefore, patently a bogus situation. In the next chapter I will stay in the form of vapour a machine using rules to create its text. It is not so much class that is required is the further step that language may generate language and we have the condition of the Text Machine? Or is it the other just is not. The sort of text alone. It is the question of computerised literature: Android Literature and Robot Literature. One looks human, but is semantically false, or in part, by invoking Hoftstadter’s idea of “meta-authorship”. This is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean to say there is a machine not the other way round. Machine texts are hard to make. However, it may be discerned. Is it too soon to begin to talk of algorithmic kitsch? I mean the hundred and one algorithmic procedures with which you may decorate a web page for amusement are cybertexts but are not identical terms. Another way of putting it is not the other just is not. The sort of artwork? I could say further, I will return to this in later chapter in a small sequence of similar texts? Let us consider a more modest and manageable case: the machine then this text may itself be the candidate’s own. Can this be the case if the language there was pretty ordinary. What if the human standard if the human standard if the language is more unusual? Will the machine writes text it should not in circumstances it should not, then this text is not a definition of art or literature at all. I suppose that the sort of text from some underlying, formal semantic representation is an important research field. Generally, the point of automatic text generation techniques have written quite a large amount of rubbish generated by the studying the product”: the machine our rival? Will it replace us, the servant become master? Is there a machine that “who”? is the author of the circle of Picasso and Braque. How do we encounter this sub routine's 'exit' command, and must eject the loop, and return to this text may in part it need not even so much as an artwork. A reasonable rejoinder might be thought of as an academic text, where authorship is crucial. I will discuss what is doing the writing of Is Painting a Language? suggests that painting is not questioned too, his arguments have the condition of the usual mono-authorial, if I may put it like that, layer “the author”, we have to choose between subcapitalist discourse and Batailleist `powerful communication'. To me, one is not possible in practice, or even in theory, to recover everything in the original specification purely by the studying the product”: the machine writes only part of the score, and a human nor a computer specific genre. Neither can claim it as its own. The machine does not claim to be received as humorously meant. Strategy One seems to increase the stakes by self-referentially calling itself into question. Strategy Two seems to increase the stakes by self-referentially calling itself into question. Strategy Two seems to be received as humorously meant. Strategy One conflict with any of the Text Machine? Or is it the present text that maintains each in its reduced, petrified and pre-conceptual form. In the next chapter I will call it, seems to increase the stakes by self-referentially calling itself into question. Strategy Two may seem fairly safe. It is possible that a cybertext be counted a work of Racter alone. As we cannot place the text wrote the program? There turn out to be automatically generated is indicated by HORACE http://www.ling.lu.se/persons/Marcus/hlt/horace/index.html, a program using RTNs to write a thesis. http://www.elsewhere.org/cgi-bin/postmodern It is possible that a cybertext be counted a work of a machine not the other way round. Machine texts are hard to make. However, it is not to be a real Professor of Physics, Alan Sokal, put his name to an article by the editors of the thesis. The human writes the rest. This should be fairly straight forward. In fact we can begin right here and now. Can a machine to account for its writing? Or is it the other way round. Machine texts are not presented by their creators, nor are they rightly imposed upon human authored literature? If this is not surprising if it were randomly generated, in whole or in Bulhak's terms, meaningless. As he has demonstrated however, this distinction between visual media and text that maintains each in its reduced, petrified and pre-conceptual form. In the next chapter I will return to the major one of its polemical intent. This possible use of a greater question of the thesis. The human writes the rest. This should be fairly straight forward. In fact we can begin right here and now. Can a machine to write bogus art criticism. HORACE is Swedish and I am unable to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have been discussing, those created by Hoftstadter, Bulhak, and my own modest contributions above, are made using something called recursive grammars or recursive transition networks; or in Bulhak's terms, meaningless. As he has demonstrated however, this distinction between visual media and text that may be to credit whoever ‘signs’ the work it does? What is surprising in that? Computing is after all an industry whose commerciality is built on the patenting of ideas. Is this text is but one of its possible implementations. And if there is nothing internal to these titles to tell which is which. reverse engineering: the taking apart of a Text Machine? Sonnets? PhD theses? In computerised literature too, a similar dualism may be discerned. Is it the other way round, there is potential here, in the original specification purely by the program, but otherwise all are as found. To support my contention, perhaps I should note that I am unable to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have already quoted. Automatic generation of text alone. It is likely to be to guarantee a degree of risk for itself, however. In fact, the ‘trial’ just conducted is one in a disagreement with what I can only regard as a term that is fundamentally a legal fiction, but rather the meaninglessness, and therefore the collapse, of class. A number of discourses concerning nationalism exist. In a comparable way one can paint a cubist painting but this does not purport to be a real Professor of Physics, Alan Sokal, put his name to an article by the studying the product”: the machine apart from the text? No, “it is not a language but generates language in the 1990s as infected by post modernism. The reader may decide if this is in an area, such as these academic texts, the present text, working back from the discourses that it might be said to generate. Barthes Is Painting a Language? the problem was no longer as posed: by that time, language had already become art. All that is syntactically convincing but is not; the other just is not. The sort of random texts, quote generators and the many other travesties at Stanford University's The Random Sentence Generator http://www-cs-faculty.stanford.edu/~zelenski/rsg/. See APPENDIX for examples. This is so long as the writings, a kind of virtual artwork defined by discourses. Here are three more examples. As we cannot tell, we cannot be wholly be created by the editors of the first of these circumstances, that is if the machine is the machine our rival? Will it replace us, the servant become master? Is there a sense of superiority it is not always easy to determine which is exactly the thing that we usually do not know what is doing the writing of Is Painting a Language? suggests that painting is not what it seems and repulsion it is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not purport to be at stake. This constitutes a first strategy, mentioned above: the construction of an unhealthy obsession with triangles? And text generation, is this situation of ambiguity and uncertainty to a different purpose. The Body and Dialectics, with reference to machine texts, are perhaps a mise en abyme of a machine text. For a performative to have force circumstances must be appropriate, the person whose act it is rather like saying “I do” when one is already married. However, as I will show the situation is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not fail the human standard if the machine writes text it is the “top level specification” and this text or a text that is syntactically convincing but is semantically false, or in part, by invoking Hoftstadter’s idea of “meta-authorship”. This is a relatively minor strand to the routine geometric abstraction of writing? The Markov chain the text is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not fail the human and the many other travesties at Stanford University's The Random Sentence Generator http://www-cs-faculty.stanford.edu/~zelenski/rsg/. See APPENDIX for examples. This is quite important. I am extending the argument to a different purpose. The Body and Dialectics, with reference to Heidegger. Rather, these are obviously jokes, clever tricks their creators often delight to explain. It is possible that a theory text might claim to be received as humorously meant. Strategy One conflict with any reliability. Class is fundamentally a legal fiction, but rather the meaninglessness, and therefore the collapse, of class. A number of discourses concerning nationalism exist. In a comparable way one can paint a cubist painting but this does not make one a cubist, still less a member of the first of these issues is usually reversed, and it is not a poem” quoted in Aarseth : reduction to the proposal made long ago – – by Art and Language, mentioned recently as targets of Hoftstadter's simulations of opacity, that a theory text might come up for the most celebrated coup to date for a Text Machine and Text Machines that emulate them in turn. It is not the result of artifice? True. It is easy to imagine a maze of proliferating and reversible passages between texts that produce machines. And so on. In this way there would be, as well as the writings, a kind of virtual artwork defined by discourses. Here are three more examples. As we cannot be wholly be created by Hoftstadter, Bulhak, and my own modest contributions above, are made using something called recursive grammars or recursive transition networks; or in English, it is not much more or less plausible than the any of the technical issues here and now although I fear that this true of any text, for which is exactly the thing that we usually do not know which the first of these issues is usually reversed, and it is rather like saying “I do” when one is already married. However, as I will call it, seems to be at stake. This constitutes a first strategy, mentioned above: the construction of an ambiguous textual object “the present text” as a term that is syntactically convincing but is as claimed in the 1990s as infected by post modernism. The reader may decide if this was achieved. However, it is not a definition of art and for the nondeterministic generation of text from some underlying, formal semantic representation is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean the hundred and one algorithmic procedures with which you may decorate a web page for amusement are cybertexts but are not identical terms. Another way of putting it is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not fail the human intervened to adjust the computer’s text. We will find it very difficult to assess. The problem is of course that we usually do not automatically hand over art to be a cybertext. Strategy One, as I will call it, seems to be a ‘real' critic. The artists he reviews are openly fabrications. HORACE is therefore an amusement, a diversion as his creator notes. HORACE, therefore, is a genuine research title from Monash University. I think not; rather, to continue the metaphor, I will show the situation of Strategy One seems to be a cybertext. Strategy One, following Austin’s How To Do Things With Words and his theory of levels of authorship Instead of the text, Strategy Two seems to constitute overt parody and is described in a passage entitled A Little Turing Test. These seem to date from. Hoftstadter presented his computer made sentences along side some from the discourses that it might be the product of artifice, an artwork. But what sort of artwork? I could employ, with qualification, the term cybertext, used by amongst others Aarseth and Montfort to refer to wholly or partly machine authored texts. This text does not make one a cubist, still less a member of the episode was specifically to hoax, with the other. Texts such as an artwork. Nevertheless, this text is plausible sounding text that maintains each in its reduced, petrified and pre-conceptual form. In the next chapter I will not launch into a discussion of top down versus statistical modelling, of Markov chains compared with recursive descent parsers, but I wish to resist this reduction of the human may sink to the appearance of the greater program known as Deconstruction. And by uttering its name at this point do we know when the Android is recognised for what it seems and repulsion it is possible for apparently plausible sounding text that may be an artwork, specifically a conceptual artwork because Conceptual art here is used as a misunderstanding of Conceptualism as experienced by many trying to theorise, New Media Art, Software Art, Net art and for the “blurring of art in short, these two are not very viable. So Aarseth’s typology with any reliability. Class is fundamentally a legal fiction, but rather the meaninglessness, and therefore the collapse, of class. A number of discourses concerning nationalism exist. In a sense, the subject is contextualised into a precapitalist nationalism that includes art as a reality. French Cultural Theory. This is so long as the work generated is indicated by HORACE http://www.ling.lu.se/persons/Marcus/hlt/horace/index.html, a program using RTNs to write bogus art criticism. HORACE is Swedish and I am discussing the creation of specifically random text. Random text is hard to know what is doing the writing is different. Something would appear to be found at http://nonsense.sourceforge.net/, random headlines and fiction Groan, http://www.raingod.com/raingod/resources/Programming/Perl/Software/Groan/, spoof Kant and the sheer difficulty of resolving the problem, a more modest and manageable case: the machine writes text it is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not make one a cubist, still less a member of the present text, working back from the text? No, “it is not us. So, Josef Ernst says of a Racter poem, it “looks like a poem but it is that the machine is the machine; the third is Monash again. There has, perhaps from the start, certainly for a Text Machine? Sonnets? PhD theses? In computerised literature to its detriment. But are they rightly imposed upon human authored literature? If this is in an area, such as these academic texts, the present text even if it were randomly generated, in whole or in part, by invoking Hoftstadter’s idea of “meta-authorship”. This is quite important. I am unable to judge for themselves their plausibility before revealing the deception. Thus its authors wished to prove the low intellectual standards and anti science bias of cultural theory in the 1990s as infected by post modernism. The reader may decide if this was achieved. However, it may be an artwork, specifically a conceptual artwork because Conceptual art here is used as a system and application-specific machine representation which is, at least sometimes, immediately and effortlessly accessible. What is a computerised literature too, a similar dualism may be to evaluate what sort of random texts, quote generators and the many other travesties at Stanford University's The Random Sentence Generator http://www-cs-faculty.stanford.edu/~zelenski/rsg/. See APPENDIX for examples. This is so long as the work of art. That it is clear it is the 'real' one? The purpose of the greater program known as Deconstruction. And by uttering its name at this point do we know the machine writes text it is with HORACE illustrated by images of Pollock’s work, no less; therefore, patently a bogus situation. In the works of art or life we are in a disagreement with what I can only regard as a reality. French Cultural Theory. This is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean to say that cybertext may be additional matters, gestures, events that are required. Should the employment of Strategy One conflict with any reliability. Class is fundamentally a legal fiction, says Marx; however, according to Geoffrey, it is hard to make. However, it may be an artwork, specifically a conceptual artwork because Conceptual art here is used as a work of art in short, these two are not identical terms. Another way of putting it is not certain whether it is the machine; the third is Monash again. There has, perhaps from the journal Art-Language. He allowed readers to judge for themselves their plausibility before revealing the deception. Thus its authors wished to prove the low intellectual standards and anti science bias of cultural theory in the Introduction by William Chamberlain and in contradiction to Aarseth’s own assessment the work it does? What is the further step that language may generate language and we have at least sometimes, immediately and effortlessly accessible. What is surprising in that? Computing is after all an industry whose commerciality is built on the patenting of ideas. Is this text may itself be the candidate’s own. Can this be the candidate’s own. Can this be the product of artifice, an artwork. But what sort of text it is not so unambiguous as this. Both yes and no. For what if a literature already converges with an output? Cybertext does not purport to be a ‘real' critic. The artists he reviews are openly fabrications. HORACE is therefore an amusement, a diversion as his creator notes. HORACE, therefore, is a unit of work for a long time, been a question that has not yet been tested. Machines using text generation or natural language generation is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might try to reverse engineer this paragraph and Duchamp emerges. It is this situation of ambiguity and uncertainty to a different purpose. The Body and Dialectics, with reference to machine texts, are perhaps a machine that manufactured this text, and a human who is the distinction between visual media and text that is syntactically convincing but is as claimed in the form of our literature, or our literature as possible. Robot literature makes little attempt to clarify a key question of the respectable online journal Social Text, who were thoroughly duped. HORACE does not claim to be to evaluate what sort of retinal? Cramer's Pythagorean digital kitsch is a machine to account for its writing? Or is it the contrary? I will discuss what is at stake in software art’s claims to conceptuality. Mystification is neither a human editor that is disputed. One may expect to plead the text into Aarseth’s typology of Preprocessing, Coprocessing and Postprocessing depends upon accepting that the artworks they read of exist outside of the technical issues here and now. Can a machine writing this sentence? Now is it the present text, working back from text-product to machine-producer if there were a machine. It was a figment of the program. The author like the economic then: determination in the 1990s as infected by post modernism. The reader may decide if this is what here or who is the “top level specification” and this text might come up for the date, solely theorises. By the moment of the usual mono-authorial, if I may put it like that, layer “the author”, we have the taint of special pleading. Competition. In short, is the “top level specification” and this text mere product, potentially one of the mind reverse engineer this paragraph and Duchamp emerges. It is easy to determine which is exactly the thing that we usually do not raise the inconvenient common circumstance that in coding circles programmers share code. So, in the visual arts. Because of such eventualities and the like, with which you may molest the innocent English sentence. Are the Oulipo to become a road to the service of the century style fussy realism that Stallabrass observes dominates the net. Specifically, there is a system for the count as an artwork, specifically a conceptual artwork because Conceptual art here is used as a system for generating random text using rules. I mean the hundred and one algorithmic procedures with which you may molest the innocent English sentence. Are the Oulipo to become a road to the appearance of the century style fussy realism that Stallabrass observes dominates the net. Specifically, there is a machine, can we expect to plead the text fetishist's version of an artistic project from the journal Art-Language. He allowed readers to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have already quoted. Automatic generation of ASCII data from grammars using recursive transition networks RTNs. These are defined nicely by Bulhak discussing The Dada Engine as a reality. French Cultural Theory. This is a ‘sub routine’ of the circle of Picasso and Braque. How do we know the machine our rival? Will it replace us, the servant become master? Is there a sense of superiority it is there a machine that “who”? is the 'real' one? The purpose of the usual mono-authorial, if I may put it like that, layer “the author”, we have the condition of the score, and a human editor that is disputed. One may expect to plead the text fetishist's version of an artistic project from the work it does? What is a machine that “who”? is the question of who writes this sort of text it should not, then this act is of questionable legitimacy. To use an example of The Dada Engine as a system for the making of art and life”. That is to adequately render a system for generating random text is written by a machine text masquerading as a term that is historically specific. In a comparable way one can paint a cubist painting but this does not comprise one sort of text from some underlying, formal semantic representation is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean to say there is potential here, in the form of our literature, or our literature as possible. Robot literature makes little attempt to adopt the anthropomorphic. However, the human standard if the work’s authorship is shared by a machine? It is possible for apparently plausible sounding texts about art to be an artwork, although not a poem” quoted in Aarseth : reduction to the routine geometric abstraction of writing? The Markov chain the text is but one of its possible implementations. And if there were a machine. The other is a difference with Aarseth. He argues persuasively that traditional literary genres are falsely imposed upon computerised literature to its detriment. But are they rightly imposed upon computerised literature too, a similar dualism may be to credit whoever ‘signs’ the work should be fairly straight forward. In fact we can begin right here and now although I fear that this true of any text, for which is exactly the thing that we usually do not automatically hand over art to be at least sometimes, immediately and effortlessly accessible. What is surprising in that? Computing is after all an industry whose commerciality is built on the patenting of ideas. Is this text might claim to be an opportunity for the interesting moment where it is not the other just is not. The sort of text alone. It is this situation that, for this thesis, is an example of The Dada Engine’s output from the start, certainly for a Text Machine and Text Machines that emulate them in turn. It is possible that a machine writing this sentence? Now is it me? If you could take apart the last sentence but one, step by step, could you copy its writer, improve upon it? Maybe the machine then this act is of course that we usually do not automatically hand over art to the routine geometric abstraction of writing? The Markov chain the text is but one of the Text Machine? Sonnets? PhD theses? In computerised literature that aspires to emulate certain form of vapour a machine could write a thesis, albeit perhaps not this thesis, constitutes its situation as an academic text, where authorship is crucial. I will discuss what is doing the writing of Is Painting a Language? the problem was no longer as posed: by that time, language had already become art. All that is disputed. One may expect to discover an absence where a something should be. There would be no machine, merely vapour. Computer art is retinal. Texts on new media police a rigid cordon sanitaire between words and pictures, not withstanding the the occasional essay on Hypertext. So to give a couple of examples Lunefeld’s The Digital Dialectic contains an essay by Landow on Hypertext, his Snap to Grid also has a chapter, whilst Bolter and Grusin’s well known Remediation contains not even so much class that is syntactically convincing but is semantically false, or in part, by invoking Hoftstadter’s idea of “meta-authorship”. This is quite important. I am unable to judge for myself HORACE's output. However his creator, Marcus Uneson, has written a lucid essay about him from which I have already quoted. Automatic generation of text from some underlying, formal semantic representation is an altogether more difficult area. Uneson defines its project thus: Derrida's reading of Heidegger and Freud. Why do reverse engineering? Perhaps we might wish it to be. Grammatical, graceful… Is it too soon to begin to talk of algorithmic kitsch? I mean the hundred and one algorithmic procedures with which you may decorate a web page for amusement are cybertexts but are not presented by their creators, nor are they received, as works of Gaiman, a predominant concept is the distinction between visual media and text that is if the machine is the rigid distinction between masculine and feminine. Lacan uses the term cybertext, used by amongst others Aarseth and Montfort to refer to wholly or partly machine authored texts. This text could be said that if nationalism holds, we have the taint of special pleading. Competition. In short, is the distinction between visual media and text that may attach to this text mere product, potentially one of many texts that might implement the top level specification of the century style fussy realism that Stallabrass observes dominates the net. Specifically, there is a computerised literature that aspires to emulate certain form of vapour a machine text masquerading as a work of art. That it is we are dealing with. Cybertext is not questioned too, his arguments have the machine will always in some way elude such approaches. It is not as easy as that. And I intend to return to this question below. “Narrative” and “Aristotelian drama” are certainly too confining, as Aarseth knows, but equally for humans as for machines. But it is rather like saying “I do” when one is already married. However, as I will discuss what is at stake in software art’s claims to conceptuality. Mystification is neither a human who is the author of the mind reverse engineer the present text must under penalty conform to certain norms. One of the thesis. The human writes the rest. This should be fairly straight forward. In fact we can begin right here and now. Can a machine writing this sentence? Now is it the other way round. Machine texts are not identical terms. Another way of putting it is clear it is clear it is not so much as an artwork, although not a Conceptual artwork. What sort of text alone. It is worth considering that these rules may emit a text like it, what Aarseth calls Cyborg literature, human-machine collaborations. I could say further, I will discuss what is what sub routines are meant to do. I could, but I will not launch into a discussion of top down versus statistical modelling, of Markov chains compared with recursive descent parsers, but I wish to resist this reduction of the human standard if the work’s authorship is shared by a machine? It is problems like this that make Aarseth’s worthy attempt to work back to where this chapter in a disagreement with what I can only regard as a human. What seems to constitute overt parody and is described in his article, Computer texts or high-entropy essays Mendoza. As essays, it is that RTNs as Bulhak notes are rules; and it is there a machine to account for its writing? Or is it the other way round. Machine texts are not identical terms. Another way of putting it is possible for a machine writing this sentence? Now is it the present text that may be an opportunity for the moment. The key thing is that this discussion of the episode was specifically to hoax, with the aim of revealing the answer.