http nl youtube comwatch vODmse 9 as SYs

http: //nl. youtube. com/watch? v=ODmse 9 as. SYs http: //nl. youtube. com/watch? v=KRYo_7 t. Uq. Fk

Paul Fournel né le 20 mai 1947 à Saint-Étienne cycliste et de lettres “Computer and writer The centre pompidou experiment” 1983

The Oulipe l'Oulipo is opgericht in 1960 door schrijver en dichter Raymond Queneau en de wiskundige François Le Lionnais. • • • Wil het pontentieel van literatuur onderzoeken. conentereert zich op de relatie tussen literatuur en wiskunde. Het werken met beperkingen algorimtes.

Les membres le restent après leur mort (ils sont excusés pour cause de décès). • In 2006: Noël Arnaud, Valérie Beaudouin, Marcel Bénabou, Jacques Bens, Claude Berge, André Blavier, Paul Braffort, Italo Calvino, François Caradec, Bernard Cerquiglini, Ross Chambers, Stanley Chapman, Marcel Duchamp, Jacques Duchateau, Luc Étienne, Frédéric Forte, Paul Fournel, Anne F. Garréta, Michelle Grangaud, Jacques Jouet, Latis, François Le Lionnais, Hervé Le Tellier, Jean Lescure, Harry Mathews, Michèle Métail, Ian Monk, Oskar Pastior, Georges Perec, Raymond Queneau, Jean Queval, Pierre Rosenstiehl, Jacques Roubaud, Olivier Salon, Albert. Marie Schmidt.

Cent mille milliards de poèmes • In 1975 the Atelier de Recherches et Techniques Avancées, or ARTA, wrote a computer program that produced instantiations of the Cent mille milliards de poèmes as a function of a user's name and the time it took him or her to type it. It is not difficult to simulate ARTA's computer program to produce poems from Queneau's original text by counting the number of seconds it takes a user to type his or her name and using that information to calculate a “magic number”:

http: //userpage. fu-berlin. de/~cantsin/permutations/queneau/poemes. cgi http: //www. thing. de/projekte/7: 9%23/queneau_1. html

http: //video. google. nl/videoplay? docid=8507965640260779306&q=oulipo&total=26&start=20&num=10&so=0&type=search&plindex=1 • For the Oulipo, potential text analysis is less a question of interpreting literature than of supplying algorithms for the good use one can make of reading. Producing exemplary interpretations with algorithms is a secondary consideration. Oulipian constraints are better understood as toys with no intended purpose rather than as tools we use with some objective in mind. The procedures for making sense of texts provide for their own interpretation: they are not only instruments for discovering meaning but also reflections on making meaning.