6 fake news poetry writing algorithms and three poems

The Ammerman Center for Arts and Technology 16th Biennial Symposium with Kyle Booten

by Lucas Crane
A poetry writing script for
#100hardtruths-#fakenews #96, "Make Manifest the Contingency of the Social"

>ask for someone's email, send someone $10 via paypal and in the note section of the paypal sending screen write out a full month of lunch suggestions.

by Lucas Crane
A poetry writing script for
#100hardtruths-#fakenews #75, "No Time for Fools"

>copy and tweet some other's tweet but change the subject matter to always be referring to "dogs and cats in hats.”

by Lucas Crane
A poetry writing script for
#100hardtruths #84, "Stage Fake News Events," which refers to “Wait, Wait, Don’t Tell Me: A Fake News Event,” a digital media literacy event featuring Brooklyn College Professors MJ Robinson (Journalism), Katherine Fry (Television & Radio), and Beth Evans (Library).

>me: *does a thing
You: *becomes a thing*
The internet: *says something, clutchs pearls*
100 people outside in a field staring at you: *says something cheering you on*

4. there there, it's so much worse than that
by Lucas Crane
A poetry writing script loosely connected to
#100hardtruths-#fakenews #49, "support cinematic solidarity against Islamophobia," which itself supported an effort by The Seventh Art Stand “to elevate the cinemas and stories” of the people from the countries affected by the travel ban set by President Donald Trump: Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen.

>respond to any “I'm trying to..." sentence with "there there, it's so much worse than that, so much worse," then say why.

by Lucas Crane
A poetry writing script for Every Single Tweak in an Algorithm Can Make a Change
#100hardtruths-#fakenews #30, which itself is based on a collection of fake news-flagging browser extensions contributed to the project by Lisa Hirschfield, and quoting from words from the winner of HackPrinceton 2016, FiB.

Three recorders:
Recorder 1: contains everything you'd like to say
Recorder 2: contains every response to what is on recorder 1
Mix it around
Recorder 3: contains "irrelevant response" defined as "old joke, old tune, piece of the street"
Mix it around
"Let the machines argue complain and talk"

by Lisa Moren and Maro Perez
A poetry writing script for
#100hardtruths-#fakenews #16 "Practice Strategic Contemplation" which itself refers to ideas discussed in "Cámara Retórica: A Feminist Filmmaking Methodology for Rhetoric and Composition" by Alexandra Hidalgo.

a two hour walk to generate a poem

1. create a list of activities (with an alarm) to go off every 5 minutes for 2 hours
2. Go for a walk
3. Observe the truth of your surroundings
4. Allow for associations that relate to your observations and record during or after walk
5. If vibrations occur, then answer phone and follow your own prompt
6. Forget Associations
7. Repeat until two hours are up

by Gavin McCormick and Alexandra Juhasz
A Poetry Walk from Ditmas Park to the Interference Archive
Generated by a script of the same name by Lisa Moren and Maro Perez for #100hardtruths-#fakenews #16, which itself refers to ideas generated by Alexandra Hidalgo in "Cámara Retórica: A Feminist Filmmaking Methodology for Rhetoric and Composition." The #100hardtruth, poem script, and poem all refer loosely but centrally to #100hardtruth #36 history is real, or to put this another way, a great many of the poems and truths they try to capture, albeit with words, across this effort, hope to make room and time and place for our bodies as real, our experienceds of time and place as real, and the material world as real, including the technologies held and used therein.

1. Woman holds many balloons.
Orange cat.
Cantaloupe, smashed.
Felix (age 8?) is chastised:
“It reflects badly on you and on me. Like who wants to invite Felix?
And then, what kind of mother is she?”
Smear of a woman watches through an opaque window.
Enjoying the snow? “Enjoying a smoke!”

1A. balloon bouquet
poor Felix
you’re embarrassing me.
Enjoying the snow?
Enjoying my smoke.

2. I notice less, maybe?
“Too bad you’re not high.”
Feels like I might be.
Men chat companionably, black leather jackets, red hoodie.
Husky, 2-ton jack
19th Street
Danger Men Working

2A. We talk a lot!
I plan a lot!
remember I told you I had a dream about honest
talking vs logistics?
I have a machine logic in my head.
this little script, easy enough,
can break through.

3. Juifs Pour Jesus.
Remember We Are All Made Of Dust, And To Dust We Shall Return
Canyon walls of brick apartments,
Single skein of razor wire.
Spanish conversations.

3A. Cavern of walls I often slide through
feel warm.
Fakenews is built upon
denuding our dignified upstanding
neighbors simply because of
words. Frailty, varied taste.
The internet lets each speak but overrides
dignity of difference with other logics.

St. Paul Place
123 On The Park
“Our first hipsters.”
Bearded young man, small white dog:
“Then Natalie got married and moved to this tiny town.”
Fingers stiffen. Frosty air. Trees bare.
Not In Service

4A. I am often aware of you, I think.
But your hand in silence
feels like generous
open support.
Do I need direction to be free?

5. Park’s welcoming specter: tree skeletons – 30, 50, 70 feet high – interlaced against grey sky rippled with bruise-black cloud crests.
Ice skaters, scores, outline a rink while
Zamboni smoothes a second.
Smell of frying meat.
Whinging toddler strains at front of a stroller; stoic father, grey whiskered, miles back, pushes on.

5A. Places hold memories like a camera
or a computer.
My first summer visit to the Prospect Park lake
Brooklynites in colored glory eating foods of all places.
Winter skating fiasco that became perfect
walk with my teenagers.

6. Condom wrappers: Magnum, NYC.
Solitary smoker on a bench; downwind, we smell pot.
Rink sound system drifts: “You and I – never gonna be like them – gonna make it to the end – You and I.”
Swan on pond.
Croak-chirping, almost amphibian: birds, tucking in before the storm?

6A. I can remember holding my little children
with a sense memory better than
any photo.
The body, my body, is this sort
of private truth holder
and generator.

7. Snow --
Geese honk
-- gathers on my jacket --
Planes roar
-- ticks against leaves below, twigs above.
Across service road, through playground fence, glimpse of street.
Pages wet. Pen won’t write

7A. I saw you as an old man for a moment
walking beside me
it felt natural and somehow serene.
And suddenly my feet touched
The snow exploded too.

8. This break seems longer. Uphill. Time to stop?
Bikers and walkers stream steadily past us.
Skateboarder smartphone-films his snow-splashed descent.
Snow curtain thickens, perspective shifting with each streetlight: high lacy white shifts, in a step, to dense brocade through which we will reach center stage.

8A. The smartphone distraction comes too soon.
I want more quiet.
But I also like how the stop
makes a lock.
So much snow on my face
shattered and magnified by
street lights.
I miss my son
when the world presents
sheer delight.
Love and belonging and longing
are outside capitalism.

9. Thicker still: “These aren’t flakes. They’re rat kings.”
We steer from the street, bend north at a spot where the westward path always confuses me.
Metal abstract sculpture, 25 feet high, we’ve passed a dozen times and never seen – partner of one at a different park entrance we noticed just this week. Massive invisibility: not an effect the artist likely seeks.

9A. I observed nothing
we were talking.
Cosy houses
warm Brooklyn.
We both remembered
drinking wine on a
blanket in the summer.

10. Snow falls green before traffic lights.
Enlaces shrubs, thin limbs – cherry?
Exit onto 9th Street. Park Slope.
We break the silence, discuss real estate.

10A. NY has seasons.
The Internet does not
a steady slog.
Brooklyn changes
sky is dark
the city has interlocking quadrants.
Its architecture is visible
and speaks clearly its classed-raced-specificity.
Truth reeks from the walls
and the steps mothers take
with their beloved children.

11. Stop for a slice: 1:40 in, a mile yet to walk.
TV on mute:
Dead baby found in Astoria Park.
One to three inches expected.
Trump, Melania, somber, visit Florida.
Students, parents protest at anti-gun rally in Fort Lauderdale.
“Old Time Rock’N’Roll” Bob Seger Tom Cruise Rebecca De Mornay “Risky Business.”
Winter storm warning until 7 a.m. Sunday.
“I got a pepperoni pizza for my wife. Best trade I ever made.”

11A. My #100hardtruths-#fakenews project
tracked outside falsities
alongside my inner reactions
made public.
But not stimuli of the
earth and my body and yours.

12. We walk without pause. The world has returned: We look for restaurants to visit after our event. See real estate, not snow. Discuss couplehood, our certain divorce had our earlier selves met, summer travel plans.

12A. Inter-personal connections shimmer
ripple crumble and reconstitute
on streets where you stay present.

13. Time has bent, slowed, and sped, leaving an impression, oddly, of timeless transitions, one space to another, lasting a moment or an age, fixated on time, fixed in it, outside of it. We arrive: 10 minutes early.

Activity alert at 5:27 p.m.: gather 13 social network comments
by Kyle Booten

  1. I used to spend half my life chasing networks. Now with YouTube, I’ve swapped that time for time to create.
  2. Started from 0, now I’m at 19k. Next I’ll be at 100k.
  3. … even a whit the beauty she leaves behind like her eternal, up to now, shadow.
  4. Dude I have no idea how I got here but I’m glad I did
  5. Only Beethoven and Bach come close.
  6. Context: a knightship is a glider (a structure that translates itself across the Life grid periodically) [ran out of time]

Using a script by Lisa Moren and Maro Perez who responded to #100hardtruths-#fakenews #16, and also, loosely a demonstration of lessons learned from #100hardtruths #76 learn what happens when you type a letter on your keyboard, shared with me by my student and Digital Humanist, Eileen Clancy, from the repository “What-happens-when,” started by Alex Gaynor on Git.Hub.

Prompt: meditate upon a line from Jennifer Moxley’s Clampdown (2009), “ … for we / understood their suffering, didn’t we, and we / were the ones who took it upon ourselves to make it new.”

by Kyle Booten

    We were the ones who took it upon ourselves to make it new The time of modernism (vintage new) vs. the time of the event (actually new?) vs. the time of suffering (keep it underspecified). A new poem has the most current timestamp, though these can be forged, and the time bars scrubbed. A new poetry is exciting (desublimation) and can be explained quickly in an elevator.

Responding loosely to #100hardtruths #33 speed matters; there is safety in the slow.