User:Zuhui/πŸ‘€/Georges Perec's Thinking Machines: Difference between revisions

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</blockquote>
</blockquote>


==Die Maschine==
==Algorithm and Death==
===Kafka machine===
<blockquote>
...But that would only lead to a conventional β€œFrankenstein” scenario, and Perec dropped the idea. He then turned to an entirely different use that '''might be made of an imaginary computer: to answer the question, What is poetry?'''
</blockquote>
<blockquote>
the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.<br>
...<br>
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.
</blockquote>
-Today's AI
'''1.문체 뢄석 μ•Œκ³ λ¦¬μ¦˜:''' 문체 뢄석 μ•Œκ³ λ¦¬μ¦˜μ€ μ €μžμ˜ κ³ μœ ν•œ 문체λ₯Ό νŠΉμ • μˆ˜μΉ˜λ‚˜ λ³€μˆ˜(예: 단어 λΉˆλ„, 평균 λ¬Έμž₯ 길이 λ“±)둜 λΆ„μ„ν–ˆλ‹€. 이λ₯Ό 톡해 νŠΉμ • ν…μŠ€νŠΈκ°€ νŠΉμ • μž‘κ°€μ˜ 문체와 μΌμΉ˜ν•˜λŠ”μ§€ νŒλ³„ν•  수 있으며 예λ₯Ό λ“€μ–΄, μ–΄λ–€ ν…μŠ€νŠΈκ°€ 단어 λΉˆλ„λ‚˜ λ¬Έμž₯ ꡬ쑰λ₯Ό 톡해 β€˜μΉ΄ν”„μΉ΄β€™μ˜ μŠ€νƒ€μΌκ³Ό μœ μ‚¬ν•œμ§€λ₯Ό λ”°μ Έλ³Ό 수 있게 λœλ‹€.
'''2.μ—­λ°©ν–₯ 적용:''' μ—¬κΈ°μ„œ 울리포의 ν₯미둜운 λ°œμƒμ€ 이 μ•Œκ³ λ¦¬μ¦˜μ„ μ—­μœΌλ‘œ μ‚¬μš©ν•˜λŠ” 것이닀. 즉, μΉ΄ν”„μΉ΄μ˜ μŠ€νƒ€μΌ λΆ„μ„μ—μ„œ μΆ”μΆœν•œ λ³€μˆ˜λ“€μ„ μ΄μš©ν•΄ μ•Œκ³ λ¦¬μ¦˜μ΄ 직접 카프카와 μœ μ‚¬ν•œ μŠ€νƒ€μΌμ˜ ν…μŠ€νŠΈλ₯Ό μƒμ„±ν•˜λ„λ‘ ν•˜λŠ” 것. μ΄λ ‡κ²Œ λ§Œλ“€μ–΄μ§„ ν…μŠ€νŠΈλŠ”, νŠΉμ • μž‘κ°€(이 경우 μΉ΄ν”„μΉ΄)의 문체λ₯Ό λ°˜μ˜ν•˜λ―€λ‘œ μ»΄ν“¨ν„°λ‚˜ λ…μžλ„ μ§„μ§œμ™€ κ΅¬λ³„ν•˜κΈ° μ–΄λ €μšΈ μ •λ„λ‘œ κ·Έ μž‘κ°€μ™€ λΉ„μŠ·ν•œ 문체λ₯Ό κ°–μΆ”κ²Œ λœλ‹€λŠ” 것이닀.
'''3.μΉ΄ν”„μΉ΄ 기계:''' 이λ₯Ό 톡해 λ§Œλ“€μ–΄μ§„ 기계, 즉 β€œμΉ΄ν”„μΉ΄ κΈ°κ³„β€λŠ” μΉ΄ν”„μΉ΄μ˜ μŠ€νƒ€μΌμ„ λͺ¨λ°©ν•˜μ—¬ μƒˆλ‘œμš΄ ν…μŠ€νŠΈλ₯Ό μžλ™μœΌλ‘œ μƒμ„±ν•˜λŠ” μž₯μΉ˜κ°€ λœλ‹€. 이 기계가 μž‘λ™ν•œλ‹€λ©΄, μ‹€μ œλ‘œ μΉ΄ν”„μΉ΄κ°€ μ“΄ 것이 μ•„λ‹Œλ°λ„ 그의 문체와 맀우 λΉ„μŠ·ν•œ, β€œμΉ΄ν”„μΉ΄μ β€μΈ ν…μŠ€νŠΈλ₯Ό 생성할 수 있게 λ˜λŠ” 것이닀. μ΄λŠ” 마치 μΉ΄ν”„μΉ΄μ˜ λ¬΄μ˜μ‹μ μΈ μ°½μž‘ 과정을 기계가 μž¬ν˜„ν•΄λ‚΄λŠ” κ²ƒμ²˜λŸΌ 보이기 λ•Œλ¬Έμ΄λ‹€.
===Die Maschine===
<blockquote>
But Die Maschine is not just a way of subverting Goethe. '''The last part of this sixty-minute play takes a different approach, and seeks the connections between this poem and the nature of poetry through analogous lines from the vast thesaurus of world poetry that the speaking computer naturally contains.''' <u>The β€œexplosion of quotations” of lines of verse in seven languages about nature, silence, and mortality produces a final movement that is the reverse of the play's aggressive number-crunching start.</u> The verse tails off into the words for β€œsilence” and β€œpeace” repeated rhythmically in Japanese, Russian, English, Spanish, Italian, French, and German; a long β€œshhh…”; and then silence. In the end, something really has been said about what poetry is.
</blockquote>
''' ''What enabled this to speak about poetry?'' '''<br>
Because of the universality of themes that humans address in poetry?


==Algorithm and Death==
===Flow chart===
===Flow chart===
[[File:George-Perec The-Art-of-Asking-Your-Boss eng.jpeg|thumb|right|The Art of Asking Your Boss]]
<blockquote>
...β€œIt consists of a certain number of propositions that can take either yes or no for an answer, each answer having certain consequences. The concatenation of causes and effects and the choice of answers are represented by arrows that are the only syntactic connectors between the propositions. In brief, '''it is a tree structure, a network, a labyrinth, and the β€œreader” chooses ONE route among all the possible routes, the totality of possible routes being presented SIMULTANEOUSLY on the flow-chart.'''”
</blockquote>
<blockquote>
A flowchart, as Perec explained to Helmle, <u>shows simultaneously all the steps and the order of their recursion in a set of instructions.</u> It also contains within it all the possible moves allowed by the algorithm. It is therefore an essentially Perecquian device, '''being at once exhaustive and simultaneous'''.
</blockquote>
When put like this, it's such an interesting concept.
'''1. ν”Œλ‘œμ°¨νŠΈμ˜ "μ™„μ „μ„±"κ³Ό "λ™μ‹œμ„±"'''<br>
'''μ™„μ „μ„±(Exhaustiveness):''' νŽ˜λ ‰μ˜ ν”Œλ‘œμ°¨νŠΈλŠ” 주어진 μ ˆμ°¨μ— 따라 λ°œμƒν•  수 μžˆλŠ” λͺ¨λ“  κ²½λ‘œμ™€ 단계λ₯Ό λͺ¨λ‘ ν¬ν•¨ν•˜κ³  μžˆλ‹€. 즉, μ–΄λ–€ κ²½μš°μ—λ„ λΉ λœ¨λ¦¬μ§€ μ•Šκ³  κ°€λŠ₯ν•œ λͺ¨λ“  ν–‰λ™μ˜ 선택지와 경둜λ₯Ό μ œμ‹œν•˜λŠ” ꡬ쑰인 것. μ΄λŠ” νŽ˜λ ‰μ΄ μΆ”κ΅¬ν•œ β€œμ†Œμ§„(Exhaustion)” κ°œλ…κ³Ό λ§žλ‹Ώμ•„ μžˆλŠ”λ°, νŽ˜λ ‰μ˜ 문학적 기법은 νŠΉμ • μ£Όμ œλ‚˜ ꡬ쑰λ₯Ό μ² μ €νžˆ νƒκ΅¬ν•˜κ³ , 닀루고 μžˆλŠ” λͺ¨λ“  μš”μ†Œλ₯Ό λΉˆν‹ˆμ—†μ΄ λ‹€λ£¨λ €λŠ” μ‹œλ„λ₯Ό ν¬ν•¨ν•˜λŠ” 것이닀. 이 ν”Œλ‘œμ°¨νŠΈλŠ” κ·Έ λ³Έμ§ˆμ„ 잘 보여주고 μžˆλŠ” 것.
'''λ™μ‹œμ„±(Simultaneity):''' ν”Œλ‘œμ°¨νŠΈλŠ” λ‹¨μˆœνžˆ 순차적으둜 단계가 μ§„ν–‰λ˜λŠ” 것이 μ•„λ‹ˆλΌ, λͺ¨λ“  단계가 λ™μ‹œμ— 펼쳐져 λ³΄μ—¬μ§€λ©΄μ„œ λ‹€μ–‘ν•œ κ°€λŠ₯성을 ν•œλˆˆμ— 확인할 수 있게 ν•œλ‹€. μ΄λŠ” λ…μžκ°€ νŠΉμ • μƒν™©μ—μ„œ 선택지λ₯Ό λ³΄λŠ” 것이 μ•„λ‹ˆλΌ, 각기 λ‹€λ₯Έ 선택지가 λ™μ‹œμ— μ‘΄μž¬ν•œλ‹€λŠ” 점을 μΈμ‹ν•˜κ²Œ λ§Œλ“œλŠ” 것. μ΄λŸ¬ν•œ 방식은 νŽ˜λ ‰μ΄ κ°•μ‘°ν•œ β€œλ™μ‹œμ  μ„œμ‚¬β€μ™€λ„ 연관이 μžˆλ‹€. κ·ΈλŠ” λ‹€μ–‘ν•œ 사건과 인물이 λ™μ‹œμ— λ°œμƒν•˜λŠ” 상황을 λ¬˜μ‚¬ν•˜λŠ” 것을 즐겼고, 이λ₯Ό 톡해 νŠΉμ •ν•œ 흐름이 μ•„λ‹Œ μ—¬λŸ¬ κ°€λŠ₯성을 λ³΅ν•©μ μœΌλ‘œ λ³΄μ—¬μ£ΌλŠ” μ„œμ‚¬ 방식을 λ§Œλ“€μ–΄λ‚Έλ‹€.<br> i.e. β€œLife A User's Manual”, similarly an exhaustive description of all the rooms in the building at 11, rue Simon Crubellier, and a simultaneous account of all that is happening there toward eight in the evening on June 23, 1975…
'''2. ν”Œλ‘œμ°¨νŠΈμ˜ "μž¬κ·€μ„±κ³Ό λ¬΄ν•œ 루프", μ‹œκ°„μ˜ μž¬μ‚½μž…κ³Ό μ„œμ‚¬μ˜ ν•œκ³„'''<br>
ν”Œλ‘œμ°¨νŠΈμ—λŠ” '''μž¬κ·€μ„±(recursiveness)'''μ΄λΌλŠ” μ€‘μš”ν•œ νŠΉμ„±μ΄ μ‘΄μž¬ν•œλ‹€. μž¬κ·€μ„±μ΄λž€ νŠΉμ • 쑰건에 따라 이전 λ‹¨κ³„λ‘œ λ˜λŒμ•„κ°€λŠ” 과정을 λ°˜λ³΅ν•  수 μžˆλŠ” ꡬ쑰λ₯Ό μ˜λ―Έν•˜λŠ”λ°, νŽ˜λ ‰μ˜ ν”Œλ‘œμ°¨νŠΈλŠ” μ‚¬μš©μžκ°€ 예/μ•„λ‹ˆμ˜€ λ“±μ˜ 선택에 따라 λ‹€μ‹œ μƒμ‚¬μ˜ μ‚¬λ¬΄μ‹€λ‘œ λŒμ•„κ°€κ±°λ‚˜ μ²˜μŒλΆ€ν„° λ‹€μ‹œ μ‹œλ„ν•˜λŠ” μ‹μœΌλ‘œ λ¬΄ν•œνžˆ μˆœν™˜ν•  수 μžˆλŠ” ꡬ쑰λ₯Ό 가지고 μžˆλ‹€.<br>μ•Œκ³ λ¦¬μ¦˜μ΄ 이둠적으둜 λ¬΄ν•œνžˆ λŒμ•„κ°ˆ 수 μžˆλŠ” ꡬ쑰λ₯Ό 가지고 μžˆλŠ” 반면, νŽ˜λ ‰μ€ 이 μ„œμ‚¬λ₯Ό μ“Έ λ•Œ μ‹œκ°„μ΄ μžμ—°μŠ€λŸ½κ²Œ μ„œμ‚¬μ— κ°œμž…ν•œλ‹€λŠ” 것을 λ°œκ²¬ν•˜κ²Œ λœλ‹€. 예λ₯Ό λ“€μ–΄, κΈ‰μ—¬ 인상을 μš”μ²­ν•˜λŠ” 직원이 상사λ₯Ό λ§Œλ‚˜λŸ¬ 갈 λ•Œλ§ˆλ‹€ μ‹œκ°„μ΄ 흐λ₯΄κ³  κ·Έ μ‚¬λžŒμ€ λ‚˜μ΄λ₯Ό λ¨Ήμ–΄κ°„λ‹€. μ–΄λ–€ 선택을 ν•˜κ³  λ‹€μ‹œ μƒμ‚¬μ˜ μ‚¬λ¬΄μ‹€λ‘œ λŒμ•„κ°€λŠ” 과정이 μˆ˜μ°¨λ‘€ λ°˜λ³΅λ˜λ”λΌλ„, 각 μ‹œλ„λ§ˆλ‹€ 직원은 μ‘°κΈˆμ”© λ‚˜μ΄κ°€ λ“€μ–΄κ°€λ©° μ‹œκ°„μ΄ 흐λ₯΄λŠ” 것을 λŠλ‚„ μˆ˜λ°–μ— μ—†λ‹€. κ²°κ΅­, μ•Œκ³ λ¦¬μ¦˜μ  κ΅¬μ‘°μ—μ„œ λ²—μ–΄λ‚˜μ§€ μ•Šλ”λΌλ„ μΈκ°„μ˜ μ„œμ‚¬λŠ” μ‹œκ°„μ„ λ™λ°˜ν•  μˆ˜λ°–μ— μ—†λŠ” μ…ˆ.
'''3. νŽ˜λ ‰ λ¬Έν•™μ—μ„œμ˜ "λ™μ‹œμ  μž₯치"λ‘œμ„œμ˜ ν”Œλ‘œμ°¨νŠΈ'''<br>
ν”Œλ‘œμ°¨νŠΈκ°€ νŽ˜λ ‰ 특유의 문학적 μž₯치둜 μ€‘μš”ν•œ μ΄μœ λŠ”, 그의 μž‘ν’ˆλ“€μ΄ λ™μ‹œμ— μ—¬λŸ¬ 사건과 인물을 닀루고, 각자의 μ„ νƒμ΄λ‚˜ 상황이 μ—¬λŸ¬ 가지 λ°©μ‹μœΌλ‘œ λ³€ν™”ν•  수 μžˆλŠ” κ°€λŠ₯성을 μ œμ‹œν•œλ‹€λŠ” 점에 μžˆλ‹€. 예λ₯Ό λ“€μ–΄, 그의 λŒ€ν‘œμž‘ '인생 μ‚¬μš©λ²•'은 ν•˜λ‚˜μ˜ 건물 μ•ˆμ— μ‘΄μž¬ν•˜λŠ” λ‹€μ–‘ν•œ λ°©κ³Ό 인물듀을 λ™μ‹œμ— μ„œμˆ ν•˜λ©΄μ„œ, 마치 λ…μžκ°€ 건물의 μ—¬λŸ¬ 방을 ν•œ λ²ˆμ— λ³Ό 수 μžˆλŠ” 닀쀑적 κ΄€μ°°μžμ²˜λŸΌ 느끼게 ν•œλ‹€.<br>이와 λ§ˆμ°¬κ°€μ§€λ‘œ '''ν”Œλ‘œμ°¨νŠΈλŠ” ν•˜λ‚˜μ˜ 흐름이 μ•„λ‹Œ, λ‹€μ–‘ν•œ κ°€λŠ₯성듀이 λ™μ‹œμ— νŽΌμ³μ§„λ‹€(즉, λͺ¨λ“  단계와 선택지가 μ—΄λ¦° μƒνƒœλ‘œ μ‘΄μž¬ν•œλ‹€)λŠ” μ μ—μ„œ νŽ˜λ ‰μ˜ 닀측적이고 닀각적인 μ„œμ‚¬ ꡬ쑰λ₯Ό λ°˜μ˜ν•œλ‹€.''' ν”Œλ‘œμ°¨νŠΈλŠ” νŽ˜λ ‰μ΄ μΆ”κ΅¬ν–ˆλ˜ μ—¬λŸ¬ μ„œμ‚¬μ  κ°€λŠ₯성을 ν•˜λ‚˜λ‘œ 톡합해 λ™μ‹œμ— λ³΄μ—¬μ£ΌλŠ” ν˜•μ‹μ  μž₯치인 것.
===Radio show===
===Radio show===
===Clinamen===
===Clinamen===

Revision as of 21:13, 31 October 2024

Semantic Poetry and P.A.L.F

The "Semantic Poetry" devised by Stefan Themerson is an experimental approach that deconstructs the meaning and essence of traditional poetry by replacing words in the poem with their dictionary definitions.
(take a line from William Wordsworth)

β€œI wandered lonely as a cloud…”
↓
β€œI wandered lonely as a mass of watery vapor suspended in the upper atmosphere”

이 κ³Όμ •μ—μ„œ, μ›λž˜ ꡬ절이 κ°–κ³  있던 μ‹œμ  μ •μ„œμ™€ 이미지가 μƒμ‹€λ˜κ³ , λŒ€μ‹  λ¬΄λ―Έκ±΄μ‘°ν•˜κ³  기계적인 μ–Έμ–΄κ°€ λ‚¨κ²Œ λœλ‹€. ν…Œλ©”λ₯΄μ†μ˜ 이 기법은 두 가지 μΈ‘λ©΄μ—μ„œ λ…νŠΉν•˜λ‹€:
1. μ‹œμ˜ 정체성 해체: 의미 μ‹œλŠ” λ…μžκ°€ μ‹œλ₯Ό 해석할 λ•Œ λŠλΌλŠ” 직관적 아름닀움과 감성을 μ˜λ„μ μœΌλ‘œ μ œκ±°ν•΄ 버린닀. κ°μ„±μ μ΄κ±°λ‚˜ 상징적인 μ–Έμ–΄λŠ” 사전적 μ •μ˜λ‘œ μΉ˜ν™˜λ˜λ©°, μ΄λŠ” μ‹œμ  ν‘œν˜„μ΄ μ•„λ‹Œ λ‹¨μˆœν•œ μ„€λͺ…μœΌλ‘œ λ°”λ€Œμ–΄ μ‹œκ°€ 가진 본래의 맀λ ₯을 λΉΌμ•—λŠ” 것이닀. 이λ₯Ό 톡해 μ‹œκ°€ λ‹¨μˆœνžˆ 언어적 ꡬ성 μ΄μƒμ˜ κ²ƒμ΄λΌλŠ” 점을 μ—­μ„€μ μœΌλ‘œ κ°•μ‘°ν•˜λŠ” μ…ˆ. 2. 문학적 진정성에 λŒ€ν•œ 질문: ν…Œλ©”λ₯΄μ†μ€ 의미 μ‹œλ₯Ό 톡해, λ¬Έν•™μ΄λ‚˜ μ‹œκ°€ β€˜μ§„μ •ν•œ μ˜λ―Έβ€™λ₯Ό μ „λ‹¬ν•œλ‹€κ³  λ―ΏλŠ” 전톡적 관점을 μ‘°λ‘±ν•œλ‹€. κ·ΈλŠ” 언어와 의미의 상관관계가 λ°˜λ“œμ‹œ μ§κ΄€μ μ΄κ±°λ‚˜ 감정적일 ν•„μš”κ°€ μ—†μœΌλ©°, 문학이 본질적으둜 λ¬΄μ˜λ―Έν•œ ν‘œν˜„μ΄ 될 μˆ˜λ„ μžˆμŒμ„ 보여쀀닀.

P.A.L.F and exhausting the lexicon experiment

P.A.L.F. makes translation by semantic definition a recursive device (applying it over again to the output of the β€œmachine”) and quickly produces monstrously inflated expressions that tend asymptotically toward the inclusion of all the words in the lexicon. Perec and BΓ©nabou hypothesized that if any text subjected to the automatic production device tended toward the exhaustion of the lexicon, then any two texts would at some point of expansion come to include the same words as each other.

Technically it didn't work, but I like it. Like some kind of a philosophical jest suggesting that if all texts were infinitely expanded, they would ultimately converge to the same content in essence.

60s' Post-structuralism

P.A.L.F. is of interest as the first explicitly mechanical device entertained by Perec for the production of literary texts, and also as a symptom of the β€˜60s’ fascination with the potential of the signifier to subvert, overturn, and generally wreak havoc with meaning and authorial intention.

1.기호의 전볡적 잠재λ ₯:
κΈ°ν˜Έκ°€ λ‹¨μˆœνžˆ 의미λ₯Ό μ „λ‹¬ν•˜λŠ” μˆ˜λ‹¨μ΄ μ•„λ‹ˆλΌ, 의미λ₯Ό λ°”κΎΈκ³  뒀집고 ν˜Όλž€μŠ€λŸ½κ²Œ λ§Œλ“€ 수 μžˆλŠ” 잠재λ ₯을 κ°€μ‘Œλ‹€κ³  λ³Έ μ‹œκΈ°. 기호 κ·Έ μžμ²΄κ°€ μ˜λ―Έλ‚˜ μ˜λ„(authorial intention)λ₯Ό μ‰½κ²Œ κ³ μ •μ‹œν‚¬ 수 μ—†λŠ” νž˜μ„ κ°€μ§„λ‹€λŠ” μΈμ‹μ˜ ν™•μ‚°.
e.g. ν•œ 단어가 νŠΉμ • 의미λ₯Ό μ „λ‹¬ν•˜λ € ν•˜μ§€λ§Œ, κ·Έ 단어 μžμ²΄κ°€ λ‹€μ˜μ„±μ„ 가지기 λ•Œλ¬Έμ—, μ˜λ„μ™€λŠ” λ‹€λ₯Έ 해석이 생길 수 μžˆλ‹€. 이런 μ μ—μ„œ 1960λ…„λŒ€ 사상가듀은 κΈ°ν˜Έκ°€ λ‹¨μΌν•œ 의미둜 고정될 수 μ—†λ‹€λŠ” 것을 λ°œκ²¬ν•˜κ³ , 기호의 이 ν˜Όλž€μŠ€λŸ¬μš΄ νž˜μ„ 적극적으둜 νƒκ΅¬ν–ˆλ‹€. 2.μ €μž μ˜λ„μ˜ 해체:
기호의 μ˜λ―Έκ°€ 변함에 따라, μ €μžμ˜ μ˜λ„ μ—­μ‹œ 전볡될 수 μžˆλ‹€λŠ” 생각이 1960λ…„λŒ€μ— 퍼지기 μ‹œμž‘ν–ˆλ‹€. μ΄λŠ” 포슀트ꡬ쑰주의의 μ€‘μš”ν•œ 아이디어 쀑 ν•˜λ‚˜λ‘œ, μ €μžκ°€ 무언가λ₯Ό μ˜λ―Έν–ˆλ‹€κ³  해도, λ…μžκ°€ κ·Έ 기호λ₯Ό μ–΄λ–»κ²Œ ν•΄μ„ν•˜λŠλƒμ— 따라 μ˜λ„μ™€λŠ” λ‹€λ₯Έ μ˜λ―Έκ°€ 생길 수 μžˆλ‹€λŠ” 것. λ”°λΌμ„œ ν…μŠ€νŠΈλŠ” λ…μžμ˜ 해석에 따라 κ³„μ†ν•΄μ„œ μž¬κ΅¬μ„±λ  수 μžˆλŠ” μ‘΄μž¬κ°€ 되며, μ €μžμ˜ μ˜λ„λŠ” 점점 더 λ¬΄μ˜λ―Έν•΄μ§€κ±°λ‚˜ 뢀차적인 κ²ƒμœΌλ‘œ 간주됨. 3.P.A.L.F.와 기호 μ‹€ν—˜:
νŽ˜λ ‰μ˜ P.A.L.F.λŠ” κΈ°ν˜Έκ°€ 가진 μ΄λŸ¬ν•œ 전볡적 νž˜μ„ μ‹€ν—˜ν•˜λŠ” μž₯μΉ˜μ΄λ‹€. μ΄λŠ” κΈ°κ³„μ μœΌλ‘œ ν…μŠ€νŠΈλ₯Ό λ§Œλ“€μ–΄λ‚΄λ©°, 단어와 기호λ₯Ό 반볡적으둜 μ •μ˜ν•˜κ³  λ³€ν™˜ν•˜λ©΄μ„œ μ›λž˜μ˜ μ˜λ„λ₯Ό μ „λ³΅μ‹œν‚€κ³ , μ΅œμ’…μ μœΌλ‘œ ν…μŠ€νŠΈμ— λŒ€ν•œ 이해λ₯Ό μ™„μ „νžˆ ν˜Όλž€μŠ€λŸ½κ²Œ λ§Œλ“œλŠ” λ°©μ‹μœΌλ‘œ μž‘λ™ν•˜κΈ° λ•Œλ¬Έμ΄λ‹€.
이λ₯Ό 톡해 μ˜λ―Έλ‚˜ μ˜λ„λŠ” 고정될 수 μ—†κ³  λ¬΄λ„ˆμ§ˆ 수 μžˆλŠ” λΆˆμ•ˆμ •ν•œ κ²ƒμ΄λΌλŠ” 점을 μ‹€ν—˜ν•˜κ²Œ λ˜λŠ” 것이며, μ΄λŠ” 1960λ…„λŒ€μ˜ 언어와 κΈ°ν˜Έμ— λŒ€ν•œ 관심, 그리고 κΈ°ν˜Έκ°€ 기쑴의 의미 체계λ₯Ό μ „λ³΅ν•˜λŠ” κ°€λŠ₯성을 잘 λ³΄μ—¬μ£ΌλŠ” 예라고 ν•  수 있음.

Constraint

A constraint is any operation that can be made fully explicit on some level or another of a language (sound, letter, word, sentence…) and which gives rise to a new text. The first of Perec's Oulipian works to appear in French was his famous lipogram, A Void, a novel of three hundred pages written without the help of the letter e (the constraint being to write with only twenty-five letters, but within the grammar and lexis of the standard language nonetheless).

Algorithm and Death

Kafka machine

...But that would only lead to a conventional β€œFrankenstein” scenario, and Perec dropped the idea. He then turned to an entirely different use that might be made of an imaginary computer: to answer the question, What is poetry?

the most exciting work at that time concerned authorial attributions through the use of rival stylometric algorithms.
...
What attracted Oulipo's particular attention was the idea that if it was possible to identify authorship by algorithm, then the same algorithm might be used in reverse to produce a synthetic text that would be indistinguishable (for a computer) from authentic material.

-Today's AI

1.문체 뢄석 μ•Œκ³ λ¦¬μ¦˜: 문체 뢄석 μ•Œκ³ λ¦¬μ¦˜μ€ μ €μžμ˜ κ³ μœ ν•œ 문체λ₯Ό νŠΉμ • μˆ˜μΉ˜λ‚˜ λ³€μˆ˜(예: 단어 λΉˆλ„, 평균 λ¬Έμž₯ 길이 λ“±)둜 λΆ„μ„ν–ˆλ‹€. 이λ₯Ό 톡해 νŠΉμ • ν…μŠ€νŠΈκ°€ νŠΉμ • μž‘κ°€μ˜ 문체와 μΌμΉ˜ν•˜λŠ”μ§€ νŒλ³„ν•  수 있으며 예λ₯Ό λ“€μ–΄, μ–΄λ–€ ν…μŠ€νŠΈκ°€ 단어 λΉˆλ„λ‚˜ λ¬Έμž₯ ꡬ쑰λ₯Ό 톡해 β€˜μΉ΄ν”„μΉ΄β€™μ˜ μŠ€νƒ€μΌκ³Ό μœ μ‚¬ν•œμ§€λ₯Ό λ”°μ Έλ³Ό 수 있게 λœλ‹€.
2.μ—­λ°©ν–₯ 적용: μ—¬κΈ°μ„œ 울리포의 ν₯미둜운 λ°œμƒμ€ 이 μ•Œκ³ λ¦¬μ¦˜μ„ μ—­μœΌλ‘œ μ‚¬μš©ν•˜λŠ” 것이닀. 즉, μΉ΄ν”„μΉ΄μ˜ μŠ€νƒ€μΌ λΆ„μ„μ—μ„œ μΆ”μΆœν•œ λ³€μˆ˜λ“€μ„ μ΄μš©ν•΄ μ•Œκ³ λ¦¬μ¦˜μ΄ 직접 카프카와 μœ μ‚¬ν•œ μŠ€νƒ€μΌμ˜ ν…μŠ€νŠΈλ₯Ό μƒμ„±ν•˜λ„λ‘ ν•˜λŠ” 것. μ΄λ ‡κ²Œ λ§Œλ“€μ–΄μ§„ ν…μŠ€νŠΈλŠ”, νŠΉμ • μž‘κ°€(이 경우 μΉ΄ν”„μΉ΄)의 문체λ₯Ό λ°˜μ˜ν•˜λ―€λ‘œ μ»΄ν“¨ν„°λ‚˜ λ…μžλ„ μ§„μ§œμ™€ κ΅¬λ³„ν•˜κΈ° μ–΄λ €μšΈ μ •λ„λ‘œ κ·Έ μž‘κ°€μ™€ λΉ„μŠ·ν•œ 문체λ₯Ό κ°–μΆ”κ²Œ λœλ‹€λŠ” 것이닀.
3.μΉ΄ν”„μΉ΄ 기계: 이λ₯Ό 톡해 λ§Œλ“€μ–΄μ§„ 기계, 즉 β€œμΉ΄ν”„μΉ΄ κΈ°κ³„β€λŠ” μΉ΄ν”„μΉ΄μ˜ μŠ€νƒ€μΌμ„ λͺ¨λ°©ν•˜μ—¬ μƒˆλ‘œμš΄ ν…μŠ€νŠΈλ₯Ό μžλ™μœΌλ‘œ μƒμ„±ν•˜λŠ” μž₯μΉ˜κ°€ λœλ‹€. 이 기계가 μž‘λ™ν•œλ‹€λ©΄, μ‹€μ œλ‘œ μΉ΄ν”„μΉ΄κ°€ μ“΄ 것이 μ•„λ‹Œλ°λ„ 그의 문체와 맀우 λΉ„μŠ·ν•œ, β€œμΉ΄ν”„μΉ΄μ β€μΈ ν…μŠ€νŠΈλ₯Ό 생성할 수 있게 λ˜λŠ” 것이닀. μ΄λŠ” 마치 μΉ΄ν”„μΉ΄μ˜ λ¬΄μ˜μ‹μ μΈ μ°½μž‘ 과정을 기계가 μž¬ν˜„ν•΄λ‚΄λŠ” κ²ƒμ²˜λŸΌ 보이기 λ•Œλ¬Έμ΄λ‹€.

Die Maschine

But Die Maschine is not just a way of subverting Goethe. The last part of this sixty-minute play takes a different approach, and seeks the connections between this poem and the nature of poetry through analogous lines from the vast thesaurus of world poetry that the speaking computer naturally contains. The β€œexplosion of quotations” of lines of verse in seven languages about nature, silence, and mortality produces a final movement that is the reverse of the play's aggressive number-crunching start. The verse tails off into the words for β€œsilence” and β€œpeace” repeated rhythmically in Japanese, Russian, English, Spanish, Italian, French, and German; a long β€œshhh…”; and then silence. In the end, something really has been said about what poetry is.

What enabled this to speak about poetry?
Because of the universality of themes that humans address in poetry?

Flow chart

The Art of Asking Your Boss

...β€œIt consists of a certain number of propositions that can take either yes or no for an answer, each answer having certain consequences. The concatenation of causes and effects and the choice of answers are represented by arrows that are the only syntactic connectors between the propositions. In brief, it is a tree structure, a network, a labyrinth, and the β€œreader” chooses ONE route among all the possible routes, the totality of possible routes being presented SIMULTANEOUSLY on the flow-chart.”

A flowchart, as Perec explained to Helmle, shows simultaneously all the steps and the order of their recursion in a set of instructions. It also contains within it all the possible moves allowed by the algorithm. It is therefore an essentially Perecquian device, being at once exhaustive and simultaneous.

When put like this, it's such an interesting concept.

1. ν”Œλ‘œμ°¨νŠΈμ˜ "μ™„μ „μ„±"κ³Ό "λ™μ‹œμ„±"
μ™„μ „μ„±(Exhaustiveness): νŽ˜λ ‰μ˜ ν”Œλ‘œμ°¨νŠΈλŠ” 주어진 μ ˆμ°¨μ— 따라 λ°œμƒν•  수 μžˆλŠ” λͺ¨λ“  κ²½λ‘œμ™€ 단계λ₯Ό λͺ¨λ‘ ν¬ν•¨ν•˜κ³  μžˆλ‹€. 즉, μ–΄λ–€ κ²½μš°μ—λ„ λΉ λœ¨λ¦¬μ§€ μ•Šκ³  κ°€λŠ₯ν•œ λͺ¨λ“  ν–‰λ™μ˜ 선택지와 경둜λ₯Ό μ œμ‹œν•˜λŠ” ꡬ쑰인 것. μ΄λŠ” νŽ˜λ ‰μ΄ μΆ”κ΅¬ν•œ β€œμ†Œμ§„(Exhaustion)” κ°œλ…κ³Ό λ§žλ‹Ώμ•„ μžˆλŠ”λ°, νŽ˜λ ‰μ˜ 문학적 기법은 νŠΉμ • μ£Όμ œλ‚˜ ꡬ쑰λ₯Ό μ² μ €νžˆ νƒκ΅¬ν•˜κ³ , 닀루고 μžˆλŠ” λͺ¨λ“  μš”μ†Œλ₯Ό λΉˆν‹ˆμ—†μ΄ λ‹€λ£¨λ €λŠ” μ‹œλ„λ₯Ό ν¬ν•¨ν•˜λŠ” 것이닀. 이 ν”Œλ‘œμ°¨νŠΈλŠ” κ·Έ λ³Έμ§ˆμ„ 잘 보여주고 μžˆλŠ” 것. λ™μ‹œμ„±(Simultaneity): ν”Œλ‘œμ°¨νŠΈλŠ” λ‹¨μˆœνžˆ 순차적으둜 단계가 μ§„ν–‰λ˜λŠ” 것이 μ•„λ‹ˆλΌ, λͺ¨λ“  단계가 λ™μ‹œμ— 펼쳐져 λ³΄μ—¬μ§€λ©΄μ„œ λ‹€μ–‘ν•œ κ°€λŠ₯성을 ν•œλˆˆμ— 확인할 수 있게 ν•œλ‹€. μ΄λŠ” λ…μžκ°€ νŠΉμ • μƒν™©μ—μ„œ 선택지λ₯Ό λ³΄λŠ” 것이 μ•„λ‹ˆλΌ, 각기 λ‹€λ₯Έ 선택지가 λ™μ‹œμ— μ‘΄μž¬ν•œλ‹€λŠ” 점을 μΈμ‹ν•˜κ²Œ λ§Œλ“œλŠ” 것. μ΄λŸ¬ν•œ 방식은 νŽ˜λ ‰μ΄ κ°•μ‘°ν•œ β€œλ™μ‹œμ  μ„œμ‚¬β€μ™€λ„ 연관이 μžˆλ‹€. κ·ΈλŠ” λ‹€μ–‘ν•œ 사건과 인물이 λ™μ‹œμ— λ°œμƒν•˜λŠ” 상황을 λ¬˜μ‚¬ν•˜λŠ” 것을 즐겼고, 이λ₯Ό 톡해 νŠΉμ •ν•œ 흐름이 μ•„λ‹Œ μ—¬λŸ¬ κ°€λŠ₯성을 λ³΅ν•©μ μœΌλ‘œ λ³΄μ—¬μ£ΌλŠ” μ„œμ‚¬ 방식을 λ§Œλ“€μ–΄λ‚Έλ‹€.
i.e. β€œLife A User's Manual”, similarly an exhaustive description of all the rooms in the building at 11, rue Simon Crubellier, and a simultaneous account of all that is happening there toward eight in the evening on June 23, 1975…
2. ν”Œλ‘œμ°¨νŠΈμ˜ "μž¬κ·€μ„±κ³Ό λ¬΄ν•œ 루프", μ‹œκ°„μ˜ μž¬μ‚½μž…κ³Ό μ„œμ‚¬μ˜ ν•œκ³„
ν”Œλ‘œμ°¨νŠΈμ—λŠ” μž¬κ·€μ„±(recursiveness)μ΄λΌλŠ” μ€‘μš”ν•œ νŠΉμ„±μ΄ μ‘΄μž¬ν•œλ‹€. μž¬κ·€μ„±μ΄λž€ νŠΉμ • 쑰건에 따라 이전 λ‹¨κ³„λ‘œ λ˜λŒμ•„κ°€λŠ” 과정을 λ°˜λ³΅ν•  수 μžˆλŠ” ꡬ쑰λ₯Ό μ˜λ―Έν•˜λŠ”λ°, νŽ˜λ ‰μ˜ ν”Œλ‘œμ°¨νŠΈλŠ” μ‚¬μš©μžκ°€ 예/μ•„λ‹ˆμ˜€ λ“±μ˜ 선택에 따라 λ‹€μ‹œ μƒμ‚¬μ˜ μ‚¬λ¬΄μ‹€λ‘œ λŒμ•„κ°€κ±°λ‚˜ μ²˜μŒλΆ€ν„° λ‹€μ‹œ μ‹œλ„ν•˜λŠ” μ‹μœΌλ‘œ λ¬΄ν•œνžˆ μˆœν™˜ν•  수 μžˆλŠ” ꡬ쑰λ₯Ό 가지고 μžˆλ‹€.
μ•Œκ³ λ¦¬μ¦˜μ΄ 이둠적으둜 λ¬΄ν•œνžˆ λŒμ•„κ°ˆ 수 μžˆλŠ” ꡬ쑰λ₯Ό 가지고 μžˆλŠ” 반면, νŽ˜λ ‰μ€ 이 μ„œμ‚¬λ₯Ό μ“Έ λ•Œ μ‹œκ°„μ΄ μžμ—°μŠ€λŸ½κ²Œ μ„œμ‚¬μ— κ°œμž…ν•œλ‹€λŠ” 것을 λ°œκ²¬ν•˜κ²Œ λœλ‹€. 예λ₯Ό λ“€μ–΄, κΈ‰μ—¬ 인상을 μš”μ²­ν•˜λŠ” 직원이 상사λ₯Ό λ§Œλ‚˜λŸ¬ 갈 λ•Œλ§ˆλ‹€ μ‹œκ°„μ΄ 흐λ₯΄κ³  κ·Έ μ‚¬λžŒμ€ λ‚˜μ΄λ₯Ό λ¨Ήμ–΄κ°„λ‹€. μ–΄λ–€ 선택을 ν•˜κ³  λ‹€μ‹œ μƒμ‚¬μ˜ μ‚¬λ¬΄μ‹€λ‘œ λŒμ•„κ°€λŠ” 과정이 μˆ˜μ°¨λ‘€ λ°˜λ³΅λ˜λ”λΌλ„, 각 μ‹œλ„λ§ˆλ‹€ 직원은 μ‘°κΈˆμ”© λ‚˜μ΄κ°€ λ“€μ–΄κ°€λ©° μ‹œκ°„μ΄ 흐λ₯΄λŠ” 것을 λŠλ‚„ μˆ˜λ°–μ— μ—†λ‹€. κ²°κ΅­, μ•Œκ³ λ¦¬μ¦˜μ  κ΅¬μ‘°μ—μ„œ λ²—μ–΄λ‚˜μ§€ μ•Šλ”λΌλ„ μΈκ°„μ˜ μ„œμ‚¬λŠ” μ‹œκ°„μ„ λ™λ°˜ν•  μˆ˜λ°–μ— μ—†λŠ” μ…ˆ.
3. νŽ˜λ ‰ λ¬Έν•™μ—μ„œμ˜ "λ™μ‹œμ  μž₯치"λ‘œμ„œμ˜ ν”Œλ‘œμ°¨νŠΈ
ν”Œλ‘œμ°¨νŠΈκ°€ νŽ˜λ ‰ 특유의 문학적 μž₯치둜 μ€‘μš”ν•œ μ΄μœ λŠ”, 그의 μž‘ν’ˆλ“€μ΄ λ™μ‹œμ— μ—¬λŸ¬ 사건과 인물을 닀루고, 각자의 μ„ νƒμ΄λ‚˜ 상황이 μ—¬λŸ¬ 가지 λ°©μ‹μœΌλ‘œ λ³€ν™”ν•  수 μžˆλŠ” κ°€λŠ₯성을 μ œμ‹œν•œλ‹€λŠ” 점에 μžˆλ‹€. 예λ₯Ό λ“€μ–΄, 그의 λŒ€ν‘œμž‘ '인생 μ‚¬μš©λ²•'은 ν•˜λ‚˜μ˜ 건물 μ•ˆμ— μ‘΄μž¬ν•˜λŠ” λ‹€μ–‘ν•œ λ°©κ³Ό 인물듀을 λ™μ‹œμ— μ„œμˆ ν•˜λ©΄μ„œ, 마치 λ…μžκ°€ 건물의 μ—¬λŸ¬ 방을 ν•œ λ²ˆμ— λ³Ό 수 μžˆλŠ” 닀쀑적 κ΄€μ°°μžμ²˜λŸΌ 느끼게 ν•œλ‹€.
이와 λ§ˆμ°¬κ°€μ§€λ‘œ ν”Œλ‘œμ°¨νŠΈλŠ” ν•˜λ‚˜μ˜ 흐름이 μ•„λ‹Œ, λ‹€μ–‘ν•œ κ°€λŠ₯성듀이 λ™μ‹œμ— νŽΌμ³μ§„λ‹€(즉, λͺ¨λ“  단계와 선택지가 μ—΄λ¦° μƒνƒœλ‘œ μ‘΄μž¬ν•œλ‹€)λŠ” μ μ—μ„œ νŽ˜λ ‰μ˜ 닀측적이고 닀각적인 μ„œμ‚¬ ꡬ쑰λ₯Ό λ°˜μ˜ν•œλ‹€. ν”Œλ‘œμ°¨νŠΈλŠ” νŽ˜λ ‰μ΄ μΆ”κ΅¬ν–ˆλ˜ μ—¬λŸ¬ μ„œμ‚¬μ  κ°€λŠ₯성을 ν•˜λ‚˜λ‘œ 톡합해 λ™μ‹œμ— λ³΄μ—¬μ£ΌλŠ” ν˜•μ‹μ  μž₯치인 것.

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