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| url = "https://git.xpub.nl/XPUB/S13-Words-for-the-Future-notebooks/raw/branch/master/txt/words-for-the-future/UNDECIDABILITY.txt" | | url = "https://git.xpub.nl/XPUB/S13-Words-for-the-Future-notebooks/raw/branch/master/txt/words-for-the-future/UNDECIDABILITY.txt" |
| url
| |
| 'https://git.xpub.nl/XPUB/S13-Words-for-the-Future-notebooks/raw/branch/master/txt/words-for-the-future/UNDECIDABILITY.txt'
| |
| from urllib.request import urlopen | | from urllib.request import urlopen |
| r = urlopen(url) | | r = urlopen(url) |
| r | | r |
| <http.client.HTTPResponse at 0x7f2f424be6a0>
| |
| rawtext = r.read() | | rawtext = r.read() |
| text = rawtext.decode() | | text = rawtext.decode() |
| type(text) | | type(text) |
| str
| |
| text = urlopen(url).read().decode() | | text = urlopen(url).read().decode() |
| len(text) | | len(text) |
| 15990
| |
| text[-1] | | text[-1] |
| '\r'
| |
| text[0] | | text[0] |
| 'U'
| |
| words = text.split()
| |
| len(words)
| |
| 2548
| |
| words[0]
| |
| 'Undecidability'
| |
| words[3]
| |
| 'Multiplying'
| |
| words[-1]
| |
| '158-172.'
| |
| from nltk import word_tokenize, Text
| |
| tokens = word_tokenize(text)
| |
| len(tokens)
| |
| 3047
| |
| tokens[-1]
| |
| '.'
| |
| tokens[:10]
| |
| ['Undecidability',
| |
| 'Silvia',
| |
| 'Bottiroli',
| |
| 'Multiplying',
| |
| 'the',
| |
| 'Visible',
| |
| 'The',
| |
| 'word',
| |
| '[',
| |
| 'i']
| |
| tokens[21:30] # not including 30th word
| |
| ['Memos', 'for', 'the', 'Next', 'Millennium', '[', 'i', ']', 'written']
| |
| strengers = Text(tokens)
| |
| strengers
| |
| <Text: Silvia Bottiroli Multiplying the Visible The word [ i>
| |
| strengers.concordance("multiplicity", width = 84, lines = 72)
| |
| Displaying 11 of 11 matches:
| |
| ] attempts to escape the vortex of multiplicity are useless. ” [ 6 ] In his fifth m
| |
| , he subsequently focuses on [ i ] multiplicity [ i ] as a way for literature to co
| |
| fore , let ’ s think visibility and multiplicity together , as : a multiplication of
| |
| n the contrary , it is generating a multiplicity of different gazes that are all leg
| |
| ed and thus incomplete and open . A Multiplicity of Gazes An undecidable artwork is
| |
| ics today , is that they generate a multiplicity of gazes and of forms of spectators
| |
| positions and points of view . The multiplicity of gazes produced and gathered by u
| |
| tes a radical collectivity based on multiplicity and on conflicting positions that a
| |
| ility and from its encounter with a multiplicity of gazes . Preserving it is possibl
| |
| encounter between undecidable art , multiplicity of gazes , and a curatorial dimensi
| |
| ibid , p. 98 . 7 . Italo Calvino , Multiplicity , [ i ] Six Memos for the Next Mill
| |
| for line in strengers.concordance_list("the", width=82, lines=74):
| |
| print (line.left_print, line.query, line.right_print)
| |
| idability Silvia Bottiroli Multiplying the Visible The word [ i ] undecidable [ i
| |
| lvia Bottiroli Multiplying the Visible The word [ i ] undecidable [ i ] appears i
| |
| e [ i ] appears in [ i ] Six Memos for the Next Millennium [ i ] written by Italo
| |
| ry lectures at Harvard University . In the last months of his life Calvino worked
| |
| rishly on these lectures , but died in the process . In the five memos he left be
| |
| ectures , but died in the process . In the five memos he left behind , he did not
| |
| i ] Visibility [ i ] , revolves around the capacity of literature to generate ima
| |
| flow continuously . Calvino focuses on the imagination as “ the repertory of what
| |
| alvino focuses on the imagination as “ the repertory of what is potential ; what
| |
| exist but might have existed. ” [ 2 ] The main concern that he brings forth lies
| |
| ncern that he brings forth lies within the relation between contemporary culture
| |
| contemporary culture and imagination : the risk to definitely lose , in the overp
| |
| ion : the risk to definitely lose , in the overproduction of images , the power o
| |
| se , in the overproduction of images , the power of bringing visions into focus w
| |
| g [ i ] in terms of images. ” [ 3 ] In the last pages of the lecture , he propose
| |
| f images. ” [ 3 ] In the last pages of the lecture , he proposes a shift from und
| |
| he proposes a shift from understanding the fantastic world of the artist , not as
| |
| m understanding the fantastic world of the artist , not as indefinable , but as [
| |
| th this word , Calvino means to define the coexistence and the relation , within
| |
| no means to define the coexistence and the relation , within any literary work ,
| |
| , between three different dimensions . The first dimension is the artist ’ s imag
| |
| nt dimensions . The first dimension is the artist ’ s imagination – a world of po
| |
| at no work will succeed in realizing . The second is the reality as we experience
| |
| l succeed in realizing . The second is the reality as we experience it by living
| |
| we experience it by living . Finally , the third is the world of the actual work
| |
| it by living . Finally , the third is the world of the actual work , made by the
| |
| . Finally , the third is the world of the actual work , made by the layers of si
| |
| the world of the actual work , made by the layers of signs that accumulate in it
| |
| ns that accumulate in it ; compared to the first two worlds , it is “ also infini
| |
| ctory to formulation. ” [ 4 ] He calls the link between these three worlds “ the
| |
| the link between these three worlds “ the undecidable , the paradox of an infini
| |
| these three worlds “ the undecidable , the paradox of an infinite whole that cont
| |
| ino , artistic operations involve , by the means of the infinity of linguistic po
| |
| c operations involve , by the means of the infinity of linguistic possibilities ,
| |
| infinity of linguistic possibilities , the infinity of the artist ’ s imagination
| |
| uistic possibilities , the infinity of the artist ’ s imagination , and the infin
| |
| ty of the artist ’ s imagination , and the infinity of contingencies . Therefore
| |
| ity of contingencies . Therefore , “ [ the ] attempts to escape the vortex of mul
| |
| erefore , “ [ the ] attempts to escape the vortex of multiplicity are useless. ”
| |
| as a way for literature to comprehend the complex nature of the world that for t
| |
| re to comprehend the complex nature of the world that for the author is a whole o
| |
| e complex nature of the world that for the author is a whole of wholes , where th
| |
| he author is a whole of wholes , where the acts of watching and knowing also inte
| |
| watching and knowing also intervene in the observed reality and alter it . Calvin
| |
| are readable as different narratives . The lecture revolves around some novels th
| |
| ain multiple worlds and make space for the readers ’ imaginations . The common so
| |
| space for the readers ’ imaginations . The common source to all these experiments
| |
| all these experiments seems to rely in the understanding of the contemporary nove
| |
| seems to rely in the understanding of the contemporary novel “ as an encyclopedi
| |
| , as a network of connections between the events , the people , and the things o
| |
| rk of connections between the events , the people , and the things of the world.
| |
| between the events , the people , and the things of the world. ” [ 7 ] Therefore
| |
| vents , the people , and the things of the world. ” [ 7 ] Therefore , let ’ s thi
| |
| ic production and define a context for the undecidable , or rather for undecidabi
| |
| le , or rather for undecidability , as the quality of being undecidable . Calvino
| |
| tion modes and doesn ’ t fade out from the scene of the ‘ real ’ world . We might
| |
| d doesn ’ t fade out from the scene of the ‘ real ’ world . We might stretch this
| |
| s potentiality is that of multiplying the visible as an actual counterstrategy t
| |
| isible as an actual counterstrategy to the proliferation of images that surrounds
| |
| ly articulates , redefines , or alters the complex system of links , bounds , and
| |
| specific to some artworks within which the three worlds that Calvino describes me
| |
| tains and under certain terms performs the possibility of its actualisation , a w
| |
| into one actual form . In particular , the potentiality generated by undecidable
| |
| c of ‘ and… and… and… ’ as opposite to the logic of ‘ either… or… ’ that seems to
| |
| ature and just exist as such . None of the images of an artwork are being more or
| |
| twork are being more or less real than the others , no matter whether they come a
| |
| vidual or collective fantasies . It is the art ( work ) as such that creates a gr
| |
| s such that creates a ground where all the images that come into visibility share
| |
| images that come into visibility share the same gradient of reality , no matter w
| |
| itors or spectators to enter into – if the invitation of art is often that of los
| |
| itation of art is often that of losing the contact with known worlds in order to
| |
| Here , spectators are invited to enter the work ’ s fictional world carrying with
| |
| ctional world carrying with themselves the so-called real world and all their oth
| |
| ll these worlds are equally welcomed . The artwork may then be navigated either b
| |
| for w in strengers:
| |
| if w.endswith("ity"):
| |
| print (w) # but then this will show overlapping, looping..
| |
| Undecidability
| |
| University
| |
| visibility
| |
| Visibility
| |
| capacity
| |
| reality
| |
| infinity
| |
| infinity
| |
| infinity
| |
| multiplicity
| |
| multiplicity
| |
| reality
| |
| visibility
| |
| multiplicity
| |
| undecidability
| |
| quality
| |
| potentiality
| |
| visibility
| |
| undecidability
| |
| undecidability
| |
| quality
| |
| possibility
| |
| potentiality
| |
| potentiality
| |
| reality
| |
| reality
| |
| visibility
| |
| reality
| |
| undecidability
| |
| reality
| |
| contemporaneity
| |
| possibility
| |
| possibility
| |
| possibility
| |
| undecidability
| |
| community
| |
| possibility
| |
| multiplicity
| |
| Multiplicity
| |
| multiplicity
| |
| multiplicity
| |
| community
| |
| collectivity
| |
| multiplicity
| |
| reality
| |
| responsibility
| |
| undecidability
| |
| potentiality
| |
| undecidability
| |
| collectivity
| |
| visibility
| |
| Undecidability
| |
| possibility
| |
| potentiality
| |
| quality
| |
| undecidability
| |
| multiplicity
| |
| intensity
| |
| multiplicity
| |
| Visibility
| |
| University
| |
| Multiplicity
| |
| University
| |
| # and now collected in a list, and squashing case, and using a "set" to remove dupliates.
| |
|
| |
| ity = []
| |
| for w in strengers :
| |
| if w.endswith("ity"):
| |
| #print(w)
| |
| ity.append(w.lower())
| |
| #strengers.concordance()
| |
| ity = set(ity)
| |
| with open("nami_undecidibility_Michael_NLTK_141020.text", "w") as output:
| |
|
| |
| s = 0
| |
|
| |
| for word in ity:
| |
| #strengers.concordance(word, width = 84)
| |
| for line in strengers.concordance_list(word, width=82, lines=74):
| |
| t = line.left_print + " " * (2 + int(s)) + line.query + " " * (2 + int(s)) + line.right_print
| |
| #print(s)
| |
| print (t[:82], file = output)#0-82 limited
| |
| s = s + 0.3
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| for w in strengers:
| |
| if w.endswith("le"):
| |
| print (w) # but then this will show overlapping, looping..
| |
| # and now collected in a list, and squashing case, and using a set to remove dupliates
| |
|
| |
| le = []
| |
| for w in strengers :
| |
| if w.endswith("le"):
| |
| #print(w)
| |
| le.append(w.lower())
| |
| #strengers.concordance()
| |
| le = set(le)
| |
| for word in le:
| |
| strengers.concordance(word, width = 84)
| |
|
| |
| strengers.concordance("multiplicity", width = 50)
| |
| Displaying 11 of 11 matches:
| |
| cape the vortex of multiplicity are useless. ” [ 6
| |
| y focuses on [ i ] multiplicity [ i ] as a way for
| |
| ink visibility and multiplicity together , as : a
| |
| it is generating a multiplicity of different gazes
| |
| plete and open . A Multiplicity of Gazes An undeci
| |
| at they generate a multiplicity of gazes and of fo
| |
| ints of view . The multiplicity of gazes produced
| |
| lectivity based on multiplicity and on conflicting
| |
| s encounter with a multiplicity of gazes . Preserv
| |
| undecidable art , multiplicity of gazes , and a c
| |
| . Italo Calvino , Multiplicity , [ i ] Six Memos
| |
| strengers.similar("multiplicity")
| |
| kind world logic space practice undecidable visibility capacity images
| |
| and repertory overproduction power thinking understanding means
| |
| coexistence layers paradox whole
| |
| strengers.common_contexts(["undecidability", "multiplicity"])
| |
| strengers.dispersion_plot(["the", "multiplicity", "performance"])
| |
| from IPython.core.pylabtools import figsize
| |
| fizsize(20.0, 20.0) #make the graph more longe
| |
| from nltk.probability import FreqDist
| |
| freq = FreqDist(tokens) # frequency distribution
| |
| freq.keys()
| |
| freq["the"]
| |
| freq.plot()
| |
| freq.plot(50, cumulative = True)
| |
| freq.plot(30)
| |
