Regularity

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== Conclusion ==

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10 PRINT offers in its single line a sense of the generative potential of the rhythmic repetition of a very simple process involving basic units. It contains a promise similar to poetry generators in the vein of the constrained character poetry generators created by one of the author’s of this book. In those programs, such as the 256 Pearl Poetry Generators, randomness and repitition of a very small set of ngrams when played out across a confined form create a seeming endless array of poetry. A larger scale version of this sublime potential can be found in the contemporary interest in procedurally generated video games, such as “In a Star Filled Sky” and “Dwarf Fortress,” games which spawn level after level, whole worlds within worlds, rather than draw it. Procedural generation with small simple repeated units does not, as one might imagine from the description of the Ascanci Step process evoke a sense of despair about the limitations of the mechanical but instead in mirroring the simple binary units at the base level of programming, gesture toward an even more expansive potential. In this way, one-line poems inspire the quest to compose one-line poems even as it sets an aesthetic of efficiency and elegance that makes most longer poems seem desperately kludgy. To type in 10 PRINT and watch its results is to cross a threshold into a sense of possibility for a machine using a method that has been known for centuries.

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10 PRINT offers in its single line a sense of the generative potential of the rhythmic repetition of a very simple process involving basic which ultimately makes it generative. By "generative," we refer to work that is derived from a fixed system. The most cited definition for generative art was written by Philip Galanter:

+

<blockquote>Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other mechanism, which is then set to motion with some degree of autonomy contributing to or resulting in a complete work of art.</blockquote>

+

10 PRINT contains a promise similar to poetry generators in the vein of the constrained character poetry generators created by one of the author’s of this book. In those programs, such as the 256 Pearl Poetry Generators, randomness and repetition of a very small set of ngrams when played out across a confined form create a seeming endless array of poetry. A larger scale version of this sublime potential can be found in the contemporary interest in procedurally generated video games, such as “In a Star Filled Sky” and “Dwarf Fortress,” games which spawn level after level, whole worlds within worlds, rather than draw it. Procedural generation with small simple repeated units does not, as one might imagine from the description of the Ascanci Step process evoke a sense of despair about the limitations of the mechanical but instead in mirroring the simple binary units at the base level of programming, gesture toward an even more expansive potential. In this way, one-line poems inspire the quest to compose one-line poems even as it sets an aesthetic of efficiency and elegance that makes most longer poems seem desperately kludgy. To type in 10 PRINT and watch its results is to cross a threshold into a sense of possibility for a machine using a method that has been known for centuries.

= Works Cited =

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 == Conclusion ==
-PRINT offers in its single line a sense of the generative potential of the rhythmic repetition of a very simple process involving basic units.  It contains a promise similar to poetry generators in the vein of the constrained character poetry generators created by one of the author’s of this book.  In those programs, such as the 256 Pearl Poetry Generators, randomness and repitition of a very small set of ngrams when played out across a confined form create a seeming endless array of poetry. A larger scale version of this sublime potential can be found in the contemporary interest in procedurally generated video games, such as “In a Star Filled Sky” and “Dwarf Fortress,” games which spawn level after level, whole worlds within worlds, rather than draw it.  Procedural generation with small simple repeated units does not, as one might imagine from the description of the Ascanci Step process evoke a sense of despair about the limitations of the mechanical but instead in mirroring the simple binary units at the base level of programming, gesture toward an even more expansive potential. In this way, one-line poems inspire the quest to compose one-line poems even as it sets an aesthetic of efficiency and elegance that makes most longer poems seem desperately kludgy.  To type in 10 PRINT and watch its results is to cross a threshold into a sense of possibility for a machine using a method that has been known for centuries.
+PRINT offers in its single line a sense of the generative potential of the rhythmic repetition of a very simple process involving basic which ultimately makes it generative. By "generative," we refer to work that is derived from a fixed system. The most cited definition for generative art was written by Philip Galanter:
+<blockquote>Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other mechanism, which is then set to motion with some degree of autonomy contributing to or resulting in a complete work of art.</blockquote>
+PRINT contains a promise similar to poetry generators in the vein of the constrained character poetry generators created by one of the author’s of this book.  In those programs, such as the 256 Pearl Poetry Generators, randomness and repetition of a very small set of ngrams when played out across a confined form create a seeming endless array of poetry. A larger scale version of this sublime potential can be found in the contemporary interest in procedurally generated video games, such as “In a Star Filled Sky” and “Dwarf Fortress,” games which spawn level after level, whole worlds within worlds, rather than draw it.  Procedural generation with small simple repeated units does not, as one might imagine from the description of the Ascanci Step process evoke a sense of despair about the limitations of the mechanical but instead in mirroring the simple binary units at the base level of programming, gesture toward an even more expansive potential. In this way, one-line poems inspire the quest to compose one-line poems even as it sets an aesthetic of efficiency and elegance that makes most longer poems seem desperately kludgy.  To type in 10 PRINT and watch its results is to cross a threshold into a sense of possibility for a machine using a method that has been known for centuries.
 = Works Cited =