The full list of random sentences used by pata.physics.wtf for the top and bottom banners on each page (see screenshot 10.1).
in posthumous collaboration
the decomposing brain goes on working after death and it is its dreams that are Paradise
plagiarism by anticipation
the applause of silence is the only kind that counts
to understand pataphysics is to fail to understand pataphysics
duration is the transformation of a succession into a reversion
god is the tangential point between zero and infinity
laughter is born out of the discovery of the contradictory
the aesthetic of formal constraint
the unique imaginary solution to the absence of problems
the contemporary relationship between science and poetry
a huge and elaborately constructed hoax
only those who attempt the absurd achieve the impossible
the random is opposed to the deterministic
pure multiplicity irreducible to any other sort of unity
persistence and perseverance to buttress a fleeting existence
enfolding a subject laterally, associatively
a doctrine of correspondences, counterpoised by the exotic charm of another system of thought
double negative is necessary to stop the mind believing
the absence of contradictory evidence is not proof of a theory’s validity
very wrong in very important ways
no one point of view is final
unification of opposites
an athletic aesthetics of intuitive and instantaneous judgements
constantly diverted from any objective by the very progress which their energy sustains
imagination envisions the reconciliation of the individual with the whole
behind the illusion lies knowledge
a biomolecular bibliomecha of breathtaking beauty
indubitably coherent yet absolutely nonsensical
stylistic and formal experimentation can not be dismissed as purely apolitical
variable phoneme sequences in suspension within a cloud of relative
speculative solutions for imaginary problems
nonsense is nonsense only when we have not yet found the point of view from which it makes sense
laughter is the discord between tensions being resolved
read with intention to rewrite
a fractal geometry of momentums
minimizing energy, crystallizing latent structure, pleasure is understood as a practice, and accumulates as experience
don’t fall out of love
the ‘something like’, the pseudo
the text transforms itself as soon as it is understood
adaptation of archaic mental structures to new environments
a beautifully controlled yet hideously wasteful catastrophe
driven by compulsive urgency to constantly reconceive the whole idea
writing the unrightable wrongs
prisoners of conscience
machina sapiens negotiating the transformation of what is mortal into what is immortal
database hyper-archive applications stimulating relaxation
smelling of the rain it falls on the way down
a thousand ways to greet the dawn
how far up the chain can you put this without ambiguity
a gentle kitten is licking the inside of my heart
was this constrained by you, or restrained by the concept
adjoining always antiquated permutation
joint ventures can go too far away
nowhere to be found here and elsewhere
engender links to a balancing veneration
coerce to do as a sizeable unprocessed primer
plain up be a best concoction in the words
the farcical pandemonium of technology
it is not true that there were any nails
this discovery opens the door into a completely new anti-world
extending as far beyond metaphysics as the latter extends beyond physics
turn the world upside down and inside out
the law of the ascension of a vacuum toward a periphery
the anti-world God not only plays dice, he spells his name backwards
in the absence of a butler, where does the gun fit in
space is defined by simultaneity
time is a flowing stream, a liquid in uniform rectilinear motion
space is a solid, a rigid system of phenomena
the deceleration of our habitual duration conserved by inertia
a perfect elastic solid
movement into the past consists in the perception of the reversibility of phenomena
relativity is absolute
all observations depend on viewpoint and the scale of the scientist
the clinamen, subjective viewpoint and anthopocentrism all rolled into one
the identity of opposites
making negatives do the work of positives
in this year eighteen hundred and ninety-eight
the twenty-seven equivalents
the virgin, the bright, and the beautiful today
the fifth letter of the first word of the first act
voices asymptotic towards death
an epiphenomenon is that which is superinduced upon a phenomenon
concerning the amorphous isle
like soft coral, amoeboid and protoplasmic
searching desperately under the quinuncial trees for the venerable absent one
the night computed its hours
a remarkable epizootic disease
the eternal nothingness
love looks exactly like an iridescent veil and assumes the masked face of a chrysalis
in a telepathic letter
homo est deus
∞ -0 -a + a + 0 = ∞
with the aim of computing the qualities of the French
the inferno of subjectivity
The overly forceful insistence on the difference between scientific and artistic cognition quite likely derives from the incorrect notion that concepts are firmly attached to ‘real objects’, as if words had a completely clear and definite meaning in their relationship to reality and as if an accurate sentence, constructed from those words, could deliver an intended ‘objective’ factual situation to a more or less absolute degree. But we know, after all, that language too only grasps and shapes reality by turning it into ideas, by idealizing it. Language, too, approaches reality with specific mental forms about which we do not know right away which part of reality they can comprehend and shape. The question about ‘right’ or ‘wrong’ may indeed be rigorously posed and settled within an idealization, but not in relation to reality. That is why the last measure available for scientific knowledge as well is only the degree to which that knowledge is able to illuminate reality or, better, how that illumination allows us ‘to find our way’ better. And who could question that the spiritual content of a work of art too illumines reality for us and makes it translucent? One must come to terms with the fact that only through the process of cognition itself can we determine what we are to understand by ‘cognition’. That is why any genuine philosophy, too, stands on the threshold between science and poetry.(Heisenberg 1942)
The full Field map of digital humanities: emerging methods and genres by Burdick et al. (2012).
enhanced critical curation
multimedia critical editions
experiential and spatial
mixed physical and digital
augmented editions and fluid textuality
natural language processing
variants and versions
scale: the law of large numbers
digital cultural record
distant/close, macro/micro, surface/depth
cultural analytics, aggregation, and data-mining
visualization and data design
locative investigation and thick mapping
digital cultural mapping
geographic information systems (GIS)
the animated archive
participatory content creation
distributed knowledge production and performative access
use as performance
virtual learning environments
immersion and simulation
code, software, and platform studies
code as text
software in a cultural context
modular and combinatoric
repurposable content and remix culture
sampling and collage
heterogeneous data streams
web of things
pervasive surveillance and tracking
deterritorialization of humanistic practice
The full list of POS tags mentioned in chapter 6.2.2 (Marcus, Santorini, and Marcinkiewicz 1993).
Can computers think?
Can computers have free will?
Can computers have emotions?
Can computers be creative?
Can computers understand arithmetic?
Can computers draw analogies?
Can computers be persons?
Is the brain a computer?
Can computers reason scientifically?
Are computers inherently disabled?
Should we pretend that computers will never be able to think?
Does God prohibit computers from thinking?
Can the Turing test determine whether computers can think?
Is failing the test decisive?
Is passing the test decisive?
If a simulated intelligence passes, is it intelligent?
Have any machines passed the test?
Is the test, behaviouraly or operationally construed, a legitimate intelligence test?
Is the test, as a source of inductive evidence, a legitimate intelligence test?
Is the neo-Turing test a legitimate intelligence test?
Does the imitation game determine whether a computer can think?
Can the Loebner Prize stimulate the study of intelligence?
Other Turing test arguments
Can physical symbol systems think?
Does thinking require a body?
Is the relation between hardware and software similar to that between human brains and minds?
Can physical symbol systems learn as humans do?
Can the elements of thinking be represented in discrete symbolic form?
Can symbolic representations account for human thinking?
Does the situated action paradigm show that computers can’t think?
Can physical symbol systems think dialectically?
Can a symbolic knowledge base represent human understanding?
Do humans use rules as physical symbol systems do?
Does mental processing rely on heuristic search?
Do physical symbol systems play chess as humans do?
Other physical system arguments
Can Chinese Rooms think?
Do humans, unlike computers, have intrinsic intentionality?
Is biological naturalism valid?
Can computers cross the syntax-semantics barrier?
Can learning machines cross the syntax-semantics barrier?
Can brain simulators think?
Can robots think?
Can a combination robot/brain simulator think?
Can the Chinese Room, considered as a total system, think?
Do Chinese Rooms instantiate programs?
Can an internalized Chinese Room think?
Can translations occur between the internalized Chinese Room and the internalizing English speaker?
Can computers have the right causal powers?
Is strong AI a valid category?
Other Chinese Room arguments
Can connectionist networks think?
Are connectionist networks like human neural networks?
Do connectionist networks follow rules?
Are connectionist networks vulnerable to the arguments against physical symbol systems?
Does the subsymbolic paradigm offer a valid account of connectionism?
Can connectionist networks exhibit systematicity?
Other connectionist arguments
Can computers think in images?
Can images be realistically be represented in computer arrays?
Can computers represent the analog properties of images?
Can computers recognize Gestalts?
Are images less fundamental than propositions?
Is image psychology a valid approach to mental processing?
Are images quasi-pictorial representations?
Other imagery arguments
Do computers have to be conscious to think?
Can computers be conscious?
Is consciousness necessary for thought?
Is the consciousness requirement solipsistic?
Can higher-order representations produce consciousness?
Can functional states generate consciousness?
Does physicalism show that computers can be conscious?
Does the connection principle show that consciousness is necessary for thought?
Are thinking computers mathematically possible?
Is mechanistic philosophy valid?
Does Gödel’s theorem show that machines can’t think?
Does Gödel’s theorem show that machines can’t be conscious?
Do mathematical theorems like Gödel’s show that computers are intrinsically limited?
Does Gödel’s theorem show that mathematical insight is non-algorithmic?
Can automata think?
Is the Lucas argument dialectical?
Can improved machines beat the Lucas argument?
Is the use of consistency in the Lucas argument problematic?
Other Lucas arguments
A list of Jarry’s works in chronological order with their original titles copied from the French Wikipedia entry on Jarry (“Alfred Jarry” n.d.).
Les Antliaclastes (1886–1888) poems, reprinted in Ontogénie
La Seconde Vie ou Macaber (1888) reprinted in Les Minutes de sable mémorial
Onénisme ou les Tribulations de Priou (1888) first version of Ubu cocu
Les Alcoolisés (1890) reprinted in les Les Minutes de sable mémorial
Visions actuelles et futures (1894)
“Haldernablou” (1894) reprinted in les Les Minutes de sable mémorial
“Acte unique” from César-Antéchrist (1894)
Les Minutes de sable mémorial (1894) poems
César Antéchrist (1895)
Ubu roi (1896, version of 1888)
L’Autre Alceste (1896)
Paralipomènes d’Ubu (1896)
Le Vieux de la montagne (1896)
Les Jours et les Nuits (1897), novel
Ubu cocu ou l’Archéoptéryx (1897)
L’Amour en visites (1897, publié en 1898) poems
Gestes et opinions du docteur Faustroll, pataphysicien (achevé en 1898, published in 1911) novel
Petit Almanach (1898)
L’Amour absolu (1899)
Ubu enchaîné (1899, published in 1900)
Almanach illustré du Père Ubu (1901)
“Spéculations”, in La Revue Blanche (1901)
Le Surmâle (1901, publié en 1902) novel
“Gestes” in La Revue Blanche (1901) published in 1969 with “Spéculations” in La Chandelle verte.
L’Objet aimé (1903)
“Le 14 Juillet” in Le Figaro (1904)
Pantagruel (1905 opéra-bouffe by Rabelais staged in 1911, music by Claude Terrasse)
Ubu sur la Butte (1906)
Par la taille (1906) opérette
Le Moutardier du pape (1906, publié en 1907) opéra-bouffe
Albert Samain (souvenirs) (1907)
La Dragonne (1907, published in 1943)
Pieter de Delft (1974) opéra-comique
Jef (1974) play
Le Manoir enchanté (1974) opéra-bouffe staged in 1905
L’Amour maladroit (1974) opérette
Le Bon Roi Dagobert (1974) opéra-bouffe
Léda (1981) opérette-bouffe
Siloques. Superloques. Soliloques Et Interloques De Pataphysique (2001) texts
Paralipomènes d’Ubu/Salle Ubu (2010) livre d’artiste
Ubu marionnette (2010) livre d’artiste
La ballade du vieux marin (1893, after The ancient mariner by Coleridge)
Les silènes (1900, translation of German play by Christian Dietrich Grabbe)
Olalla (1901, novel by Stevenson)
La papesse Jeanne (1907, translation of Greek book by d’Emmanuel Rhoïdès)
Écho de Paris
L’Art de Paris
Essais d’art libre
Le Mercure de France
La Revue Blanche
Le Livre d’art
La Revue d’art
L’Omnibus de Corinthe
Le Canard sauvage
Le Festin d’Ésope
Vers et prose
|The routine, well-socialised person who experiences only in terms of what he has been taught and who produces only what has been produced before.
|The innovating performer who experiences only in terms of the available categories but has learned to manipulate these categories in novel combinations.
|The person who experiences directly outside the limits of ego and labels, and who has learned to develop new models of communications, or who can manipulate familiar categories in novel combinations or who can let natural modes develop under his nurture.
|The person who experiences uniquely and sensitively outside of game concepts (either by choice or helplessly by inability) but who is unable to communicate or uninterested in communicating these experiences outside the conventional manner.
|Unimaginative, incompetent hack.
|Reliable nihilist, insensitive, unsuccessful innovator whose shock value changes to morbid curiosity as fads of performance change.
|The mad creative genius, the undiscovered far-out crackpot creator who is recognised by later generations as a creative giant.
|Psychotic, religious crank, eccentric who uses conventional forms for expressing mystical convictions.
|Competent, responsible, reliable worker.
|Bold initiator who wins game recognitions but whose fame crumbles as fads of performance change.
|The truly creative giant recognised by his own age and the ages to come.
|Solid, reliable person with a ‘deep streak’.
“Alfred Jarry.” n.d. Wikipedia. link.
Burdick, Anne, Johanna Drucker, Peter Lunefeld, Todd Presner, and Jeffrey Schnapp. 2012. Digital Humanities. Cambridge, MA, USA: MIT Press.
Marcus, Mitchell P, Beatrice Santorini, and Mary Ann Marcinkiewicz. 1993. “Building a Large Annotated Corpus of English: The Penn Treebank.” Computational Linguistics 19 (2).