I posted in August last year about Spam Poetry, and used some examples from my own WordPress spam repository as the basis for some ‘found poetry’. In my previous post I offered another example of my own, ‘Update: an excavated fragment’, based on the dialogue between a computer user and the machine’s interface.
I have become aware, since that post last year, that the phenomenon of ‘spam poetry’ is quite well attested – I didn’t invent it after all, though at the time I misguidedly thought I might have done. The rest of this post will provide more context.
In July of this year I posted about VOLVELLES: mechanical devices that might be called early ‘paper computers’, primitive expert systems or thinking machines, usually employed for calculating or generating information or texts. These can be traced back to the ancient east, but in the west to Ramon Lull (the Ars combinatoria), and later, Leibniz, Kircher, and so on.
Swift in Gulliver’s Travels may have been satirising Leibniz in his ‘permutational machine’ at the Academy of Lagado. Centos, bibliomancy and later literary techniques like cutup and permutational poetry can also trace their origins to such ‘literary machines’.
This is the title of the book of essays by Italo Calvino, about which I also posted in July this year, with a focus on ‘Cybernetics and Ghosts’. In this essay Calvino considers the difference between the ‘random text generator’ and what might be called the Literary Machine: the procedure which bypasses individual human inspiration by using ‘combinatorial play’ to generate texts through the permutation of a restricted number of elements and functions. French avant-garde groups like OULIPO have experimented with such methods for decades now, harking back to the Surrealists with their use of self-imposed constraints in the production of literary texts.
Which brings me back to my own ‘spam poems’ cited earlier. A little judicious searching online will readily take you to more detailed information on the following (Wikipedia, for example, has much more on this, with examples and links):
SPAM POETRY: here the involvement of an author in the production of literature, as Calvino speculated, has become discretionary. It works on similar principles to automatic writing (Yeats was an aficionado of this, with its mystical/supernatural overtones), which was also favoured by Freud and the Surrealists as a means of tapping spontaneously into the unconscious to produce ‘psychography’. Aleatoric writing is a related concept: writing produced on the principle of accidental or chance language choices.
A key concept in such text generation is what OULIPO called ‘clinamen’ (and a near-translation, ‘swerve’): an arcane term for the classical notion of ‘primordial anti-constraint’. Creation (of a text) is rendered possible, in an ordered, logical, rational universe, by the introduction of chance. Harry Mathews’ algorithm applied to Queneau’s cutup sonnet sequence would be an example of ‘coercing’ the potentiality of texts into existence. Language is exploited through the use of matrices, and computers make this process millions times quicker and more productive than old-style cut-and-paste.
Spam is usually created by computer programs which randomly copy extracts from internet texts (Burroughs and his predecessor, Brion Gysin, called this ‘paratext’), reassemble them and use them to try to smuggle marketing or other unsolicited messages through the filters of blogs and other websites. They try to trick the spam filters into thinking that the ‘text’ thus generated has been created by human hands, for the filters usually lack the sophistication to distinguish gibberish from texts which have semantic coherence.
In brief, I’d suggest, if you’re interested in pursuing this ‘mechanical literature’, you research similar ‘genres’:
FLARF: text produced by the anonymised and reshuffled errancies of various machine protocols (Wikipedia)
SPAM LIT: the site called UbuWeb (‘an anthology of conceptual writing’) has a wealth of useful examples, articles and links.
SPOETRY, WORD SALAD, GOOGLISM, INFORMATIONIST POETRY, THE L-A-N-G-U-A-G-E POETS (most in various ways use the detritus of the internet as a source for material for recombining or regenerating texts).
I’d have to conclude, however, that the literary results are decidedly uneven. There are occasional felicitous juxtapositions created through the use of these techniques (and I’d like to think there were some among the examples I produced myself, in which I intervened and selected from the morass of verbiage to create something rather more…orderly and, I hope, interesting). But much of it is doggerel.