I have been trying to locate the English translations of Cent Milles millardes de poemes with no luck. I know Stanley Chapman and Beverley Rowe and John Crombie all published English versions and I am really really trying to find one in print. Does anyone know?]]>
Beverley - the text as a 10×14 matrix? An interesting idea. I can understand imagining it as an array - although I’m not sure how the mathematical idea of a matrix helps to understand the way the book read. Which matrix operations would correspond to reading? Matrix addition, multiplication…?
Certainly I’d agree that the text itself is not a series. When I said “the print edition, which allowed readers to work with the text, manually building each poem sequence through a series of selections” I simply meant that the process of building a poem could be described as a process of 10 choices - reading is not a selection, but a series of selections (matrix selections, perhaps).
There are other many other ways to interact with the book, of course, making selections in any order, and fewer or more than 10, and reading not whole poems but local snippets as one wanders through the space. Still, I find that the paper edition tends to fight back a bit against browsing - the packets of lines are fussy about being parted, and intractable when held back in groups, and this physical quality encourages me to make a series of rapid choices, then hold back the page and view the completed poem in full. Perhaps this impression is only palpable in contrast to a digital grid interface like your edition of the poem, which encourages true wandering.]]>
Thinking over what Douglass says in his original posting, he is wrong in describing Queneau’s book as a series. It is much more like a matrix.]]>
You might like to look at the new version of my Quenau website.
I have changed some dozen lines of the text, I hope for the better. The look of the page and the way it operates are completely different.
In response to your comments I have introduced two methods of numbering the sonnets. One is the same as Jacob Smullyan’s. The other was developed in conjunction with Charles Clunies-Ross and has advantages and disadvantages.
I have also introduced a feature that some people will object to but which is entirely optional. Since any lines that rhyme can be interchanged, I have allowed for random shuffling of rhyming lines. This increases the number of variations so that it would now take 8 million times the age of the universe to read them all.
As usual, comments gratefully received.]]>
[…] “The Movies” is a combinatoric writing tool that seems to reach for some of the goals Chris Crawford outlined in his latest book, Chris Crawford on Interactive Storytelling (2004) and even his recent podcast with Christy. It is “Interactive Storytelling Technology” or rather interactive technology for generating stories, although an entirely different way (that he, who declared that video games are dead, may no doubt find blasphemous). Crawford only has The Sims to analyze for his book. The Movies takes a tycoon game and mashes it with Machinima (see discussion by Andrew Stern and others on GTxA).Crucial to Crawford is the size of the grain that is combined. (See more in this classic post on GTxA). If in Cent Milles Milliards de Poems a combinatoric grain is an individual line of poetry, in “The Movies” the grain is an individual sequence of computer-animated footage. These short scenes can be customized in many ways, most notably changing the actors, set, and costumes. […]]]>