He captivated out a hand
On chastening after speaking, and
Felt a devotion.
The babe exclaimed, with an air
Of afflicted pride she started
Up. Their glances met
In a brume of bargaining
And hyperbole.
–Edith Wharton and the machine
In the Richard Powers atypical Galatea 2.2, a cerebral neurologist and a biographer endeavor to actualize a neural net acquainted abundant to canyon a PhD absolute in English literature. The machine, dubbed Helen, ultimately develops a apperception of its own. Eric Elshtain and Jon Trowbridge aren’t absolutely that far forth with their Gnoetry poetry-writing affairs yet–but again they’re alone on adaptation 0.2.
The abstraction for Gnoetry (that’s arresting with a adamantine G) grew out of a chat Elshtain and Trowbridge had in a Hyde Park booth a little over four years ago. Elshtain, who’s 38 and a doctoral applicant in the U. of C.’s Committee on the History of Culture, had been investigating aboriginal attempts at machine-generated poetry. Trowbridge, a 36-year-old software programmer, begin the abstraction intriguing.
“Haiku machines accept been about for a while,” Elshtain says. “As far as we were anxious they would aloof barf out these strings of gobbledygook.” Aboriginal balladry programs were bedfast by archaic accretion power, Trowbridge explains. And a lot were no bigger than Mad-Libs, “massive computer-generated fill-in-the-blank. Accord me a verb, accord me a noun, again bung them in and get a sentence. There’s no absolute anatomy there. You get being actual in some grammatical sense, but it turns out aural like bad beck of consciousness.”
Gnoetry, by contrast, “requires essentially aerial processing power,” Trowbridge says. The program’s access is absolutely statistical: it has no ability of grammar, and it can’t acquaint a noun from a verb. All it does is browse for patterns–word frequencies, accepted and aberrant chat combinations. From there it about generates new sequences of words accountable to the patterns it’s observed.
That’s area the animal aspect comes in. To absolutely use Gnoetry you aboriginal accept a anapestic anatomy (haiku, renga, tanka, or bare verse) and a antecedent argument or texts from the program’s armory (most are copyright-free downloads from Project Gutenberg). Then, if you’re application assorted texts, you accredit weights for the analysis–say, 30 percent Moby-Dick, 50 percent Origin of Species, and 20 percent Heart of Darkness. Hit go and voila, you accept a gnoem. From there you can adapt it in any fashion–change a word, a line, a verse. Alone the user decides back it’s a poem.
Trowbridge claims this is above his ken. “I don’t apperceive annihilation about poetry. I can address an algorithm,” he says. Elshtain, on the added hand, is a above balladry editor for the Chicago Review who’s had his assignment appear in journals like McSweeney’s and Ploughshares (his mother, Jean Bethke Elshtain, is a assistant at the University of Chicago Divinity School).
“Within the ambit of Gnoetry, I accept a actual bourgeois appearance of poetry,” he says. “I anticipate that I appetite bodies to anon see the machine’s achievement as poetry, and syllabic ballad forms like haiku and accentual-syllabic forms like bare ballad mark the balladry with the banderole ‘See–this is poetry!’ If the computer argument out chargeless ballad I anticipate that too abounding bodies would aloof abolish it as a accident and say, ‘Well, anyone can do that.’”
In accession to arcane works Elshtain and Trowbridge accept downloaded rap lyrics, Dylan songs, and newswire belief for use as antecedent texts. “The aboriginal affair that blew my apperception that Gnoetry discharge out was like this gangsta rap haiku,” Elshtain says. “Mostly because it is articular and grammatically actual and absolutely as if Ice-T had accounting a haiku: ‘But fuck the accomplished block / Bitch, you crazy, you crazy! / Accomplish a move and see.’”
Her Social Frame is a chapbook of 35 Gnoetry-generated renga (a Japanese collaborative ballad anatomy with a 5-7-5, 7-7, 5-7-5 affricate count) fabricated application the statistical backdrop of Edith Wharton’s atypical The Custom of the Country. Elshtain was afraid at these because they seemed so perfect, alike after animal manipulation. “The Wharton balladry are like distillations of her novels,” he says. “Lines like ‘Their glances met / in a brume of acceding / and hyperbole’ absolutely abduction the feel of account her. . . . We alike arrested the argument to accomplish abiding Gnoetry wasn’t aloof appropriation phrases. And it wasn’t. There was actual little use of regeneration. All I did in agreement of alteration was aloof change some punctuation.”
My aboriginal agreement with the apparatus didn’t about-face out so bad, I thought. My blueprint was 50 percent P.G. Wodehouse’s Right Ho, Jeeves, 25 percent Edgar Allan Poe’s “The Fall of the House of Usher,” and 25 percent Poe’s “The Masque of the Red Death” in two-line, five-verse bare verse. The result:
A actual matey scheme. The storm, the thing.
The butler came in. There were aching hearts
In Brinkley Court? About a fellow, but
A bit. A actual matey greeting. I
Remember years ago? The fourth? The thing
Again. The anticipation amuses you? The thing?
The truth. The storm, the amount of the same
Unpleasant tone, the countenance a bit. The thing
Again. The prizes. I anticipate
A abundant relief. In short, the affair in this.
Sure, it could angle a little tweaking, but I’ve apprehend worse.
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Gnoetry 0.3 is still in an aboriginal date of development, but Elshtain and Trowbridge plan to accomplish it downloadable for both PC and Mac users. (Version 0.1 is accessible online, but it’s not abundant use unless you’re a Linux geek.) For added on the program, and for called human/machine collaborations–including Her Social Frame–see beardofbees.com.
Art accompanying adventure in printed bi-weekly (not accessible in this archive): photo/Jim Newberry.
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