NLTK text analysis
Natural Language Tool Kit_141020_Michael
Basic
url = "https://git.xpub.nl/XPUB/S13-Words-for-the-Future-notebooks/raw/branch/master/txt/words-for-the-future/UNDECIDABILITY.txt"
from nltk import word_tokenize, Text
tokens = word_tokenize(text)
len(tokens)
tokens[-1]
tokens[:10] # not including the 10th word
tokens[21:30] # not including the 30th word
strengers = Text(tokens)
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)
dability 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
Making my own pattern
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
Outcome
ive works in particular , as the contemporaneity of production , consumption , a ] attempts to escape the vortex of multiplicity are useless. ” [ 6 ] In his fift , he subsequently focuses on [ i ] multiplicity [ i ] as a way for literature to ore , let ’ s think visibility and multiplicity together , as : a multiplication
the contrary , it is generating a multiplicity of different gazes that are al
d and thus incomplete and open . A Multiplicity of Gazes An undecidable artwor cs today , is that they generate a multiplicity of gazes and of forms of spect positions and points of view . The multiplicity of gazes produced and gather es a radical collectivity based on multiplicity and on conflicting positions lity and from its encounter with a multiplicity of gazes . Preserving it is ncounter between undecidable art , multiplicity of gazes , and a curatorial ibid , p. 98 . 7 . Italo Calvino , Multiplicity , [ i ] Six Memos for the
. Rather , it generates a radical collectivity based on multiplicity and
of undecidability , art produces a collectivity , a future time , and an e t further and propose that art ’ s potentiality is that of multiplying t potential when it can maintain its potentiality and never actualize itse
actual form . In particular , the potentiality generated by undecidable
to keep being a sheer , glimmering potentiality . Indeed , as a practi ct the inner nature and the intact potentiality of a quality that does e picture , an artistic fantasy , a community theatre work , an emanci orks does not compose itself into a community , as there is no ‘ commo rkness that withholds many forms of visibility within . Calvino ’ s lvino ’ s fourth memo , [ 1 ] [ i ] Visibility [ i ] , revolves arou . ” [ 7 ] Therefore , let ’ s think visibility and multiplicity toge f producing different conditions of visibility . Embracing what we where all the images that come into visibility share the same grad order to produce different forms of visibility within it . Undecid , title . 2 . Italo Calvino , [ i ] Visibility , in Six Memos fo r rather for undecidability , as the quality of being undecidabl
In this sense , undecidability is a quality specific to some ar
ure and the intact potentiality of a quality that does not mak ations involve , by the means of the infinity of linguistic po ty of linguistic possibilities , the infinity of the artist ’ the artist ’ s imagination , and the infinity of contingencies d under certain terms performs the possibility of its actual cal of performance intensifies the possibility of undecidabl ating this feminine figure and the possibility that it sugge and the concert revolve around the possibility of emancipa
produced , [ 10 ] multiplying the possibility to access t
nd consequences already opens this possibility and even be the author is then challenged and responsibility is shar eed in realizing . The second is the reality as we exper owing also intervene in the observed reality and alter i f ‘ either… or… ’ that seems to rule reality . Artworks atter whether they come as pieces of reality or as pro isibility share the same gradient of reality , no matt either by only choosing one layer of reality , or by c ating as a prism that multiplies the reality it refl nd by setting the conditions for an intensity that c
Undecidability Silvia Bottiroli Multiplying the
r the undecidable , or rather for undecidability , al and Potential Worlds In fact , undecidability i d actual worlds . In this sense , undecidability i
within an art that practices its undecidability .
uld trace back to the practice of undecidability
The kind of collective body that undecidability
ality . Indeed , as a practice of undecidability t forms of visibility within it . Undecidability ng from an art that practices its undecidability t Norton poetry lectures at Harvard University the Next Millennium [ i ] , Harvard University searcher Laura Gemini at the Urbino University sibility [ i ] , revolves around the capacity