Last login: Sun Oct 2 10:22:27 on ttys002 jhav:tensorflow jhave$ ssh -i keras-keypair-aws.pem ubuntu@54.67.33.56 Welcome to Ubuntu 14.04.3 LTS (GNU/Linux 3.13.0-76-generic x86_64) * Documentation: https://help.ubuntu.com/ System information as of Sun Oct 2 02:25:26 UTC 2016 System load: 0.19 Processes: 154 Usage of /: 61.5% of 11.67GB Users logged in: 0 Memory usage: 1% IP address for eth0: 172.31.22.27 Swap usage: 0% ubuntu@ip-172-31-22-27:~/EXPERIMENTS$ python lstm_text_generation_Keras_2layer_NO_Dropout_MIT.py Using Theano backend. Using gpu device 0: GRID K520 (CNMeM is enabled) Path id: MITPressDRAFT SOURCE text: ../TXTS/MITPressDRAFT.txt ! " # % & ' ( ) + , - . / 0 1 2 3 4 5 6 7 8 9 : ; = ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ ] ` a b c d e f g h i j k l m n o p q r s t u v w x y z ? ? ? ? ? ? ? ? After cleanup total chars: 94 Corpus length: 421915 nb sequences: 140619 Vectorization... Build model... Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "y often involves opaque typography. In this context, opaque " -------------------------------------------------- Iteration 1 Epoch 1/1 140619/140619 [==============================] - 522s - loss: 2.8735 ----- diversity: 0.1 to the tont an inting an anting an anting an anting and anting an to the the tore tont an ante the ting and anting an anting an anting an anting an anting an tont on te the tont an anting and anting an inge to the tor anting and and and and anting and and anting an and anting and and and anting on ting and an ting an ante an anting an ant an antiting and anting an te tong an and anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an anting an ante in anting an ante anting an anting an and anting an anting an anting an anting an ting and anting an anting an anting and an ting anting an anting an anting an ing anting and an anting an anting an anting an and and anting an and and and an anting an an ----- diversity: 0.2 te the the tor te tont on tont an and anting an antite an tint an anting on the ting anting ange ting and and anting an ting anting an ante in anting in antice to the tor anting an anting an to ting anticing on ting and ans anting on the tinge and anting and anting an inting and and ant an ante and an inge ting anting ante to the and ante to the in to the tont an the ting anting and on the tont on the ing an inge and and on anting an on inting and anting an anting the tint on tong and antiting and anting anting and anting of to the tore ante the the tor antile ton on tong the the ponte an inge to the anting an inge anting an in and anging an ans anting and on the the tor ante and on anting an on ante an to the tont an angicing and on ton anting an inge to te the antiting and and and anting ----- diversity: 0.3 and anting on the ingingition of to the the tingitiling of in and ticing on the the mongiting on and the tor ans anging an anting the and and and and ting ant an anging in the toon the the and and and anting ante and and an te tert in tice to the in tore and an anting and ing and antile an tore to the linge te the te meminge on onting and ante ting an ante and on the tint on ponting gont an te the ig an tong on ante fatien on anting an on inging and mole to te mome the and anging wont on ant an ting on tove and anting an lore ans and anting the and and and on tome tang and and angicing an ante and on inge ange in ange the the toan on and antang and anting and of and and anting the pinting on the the ting on on ale in anting ant an ale an ante and an in antion toan ting an ante on the ton ----- diversity: 0.4 antering tim anter and of to tint antime lontilg on tore toens antinges whe the onto poer lomte serte to in inte on ine oneutite the menting in antioning on tingian and on levingitia tort on the angelicipaticile at om ente in the wian of on ting on ont in entimge. an ont ange cors on the ante ant ting on to the or ontiting and on antitian an ons batiligicite in to paation of tha leanit on tout re fonting of the antinging anting ant and on mont an on an ingitilale in on antite to tinge an of in ineage in in anting ant ant on tiag an antile in on angeale po ting onting in an antingitive the in on te the ing lime inge ticticaning of te soting dopos of tone ting and an or te site to terting and antile and anle and an and intinging and and angerition tang and an docingice ting ans sing ante ant ----- diversity: 0.5 eracisiang toe he perite we the the and on the thes in te pontuting antion te pite pingalice tot lo ance ant ond of toer on bicans in tite lomanting of pot an to te gures the tor on of antis the ont anpenting of a ontime mitise somle ange megt ox ente to pase thate ac oont and onting sing ace in tingo in loeg an te ante on angerecpant an inting ant or pinise on hof the t an ingist an icele on ind antion toce te tebperating an an intiog an anpigime ans ante tas an te pongintile anture ante antiag an enting anal pemanitivilis wint on the fome te fens ant of ang ang on tor and on ingeritil toxtu ans mote the pong sale an antion srecaclelige and on mime ing of an ang ane thal in antore moce ticin on ligury to andang in po te toncilime in ole antingy anting he the mitile paniting. an fithe onge ----- diversity: 0.6 merhite or ingisine andice fom sath ve fenel on tove the in and continging an on in angiote sy the to leme in mongition sor antinge the ingalitiag ante on and bonge te the ridinge tave and witinint on 3ith of an mamd atila s ante in and lute in ton ceoctecloce and te the ane ton tict se mepony a dolingy boan con an ceting tol laog an ing antile as as on the tivelicintericy on tas som ente on mytive got of the estaritians ons tive tontian tor tentingion lon at on anto micericing and Bicgeg ond sicelataridit anto rith te poncol an teringuligan rot ante the entont ang on ting vicit an enting arl sfitiss poce tiene tithe watite if limantians on of ta hle conteriog thoet on andinganging onc pentilad tif in tinge poidetile tos nutilage tho ant as on om imingial bele the rethitil of in patale an ----- diversity: 0.7 d tie longinod if epulitilg on enterinan antite in tongilils boon el the ot on tore (astanins meviwe ane intime to the-, of ines tor inlion, goventing patie tevt (e tpis tith relintilvans as an tioms to weret an woancicing an tul, mint ot aletiet of momile what etililieltacod ond tentisgid onwing into piot ante vomtis lor anditgle an coft am angeletice horpite toccigting move te indion toe uleracigisin loliog toog on as tutings ond inkiming, ante bete and en tautive on one onas so ant and on and the torke sonu an ived nemiag the eontibtitil anite pote rangititis wof s tolisualy ter onthe pote ens ase soint ho athe site wolg of as Oumure te cade qemkevionigiige is langerSice, on ef wocong and welige wope ac atilig sis on te thet ho inten is tangit is an wox, angitalel ting toes on pad enuti ----- diversity: 0.8 name of avantes blemed Lfessuce vo angiring molpima. ronw antitienas toad anith e tres on cyaliling tons revelicens onporis chiptid winken bolo on tontintay ros of anmeceniinate anmersisig ranges on alet wo ge roltico es iule ative ang te ans or taghinges thlicgeribn onmiche simmont 2f re a Saigate (and in tiat on sot af smentid te tinmerds, tac the ay wenn sole weedisginitiog bonc pepinis meeliboy tork to me cemacopan and tined ot avoling of nenton ag Dinkute, cedanilicinl. Mid waltiun uf insue anting and ansicos ro fy ant one int ad rororling an poncas vy troncerge cisce someutimtim oregomiticisitiag end tremesebage preoss tinguts. ag tald in iagitiendeer toy end temgit af a pare moruse ponpage. Tindete?y nitiq on oonl tingevicing ane sero te hos Pote ins thy e coceterien incatimion pome ----- diversity: 0.9 ntingi, at migino frcs an srvece cof of hhe wox ef Fenpore; mcont ciet mferus angaccics inlgtive asd angive (nH tinteraviwy so mommti fes plemt ratuculgorid is ingilnition aod rentingir. Yl thounusur an woleacienT and an 2an itting antalet 7y com in on lorates. Bnutusl le poreog on as loseutar ontuctite tivirsic toc y whelmy the rhe antid inm ondivoae wia tiocetite on am ivire pave tuld, temite ho are tocture angelo ind totey tiverzabtoc oad darilg boas in wimlors pole covoc b th oonge in ant alie geciwg or ing crbiigg los an ad ecala feceeligina iftontigte 1s whp, losts ard at ibmegsyNn met retase, in inmeutise tronky tive on ithogs. t9 unt lle or paliligiy birgiag tho porlurevcot y on an inge mime wo to cevepteyt vavisiigamy. on cotice of the muvesig pore inteygtivho the dotiige to rotia ----- diversity: 1.0 n in mis vetirt. in-tit and am il toone thimingyyoIse (o loleli0nof fo posecamithaT oiv=atar ptorincasuine tifk angulgumisud didt antespere ralglinging. ?n 1les ronquSunio donlis imligislaG., 7iZ intd nntenilg onming glweg of mols ta wuas bioled wont af ootrurial ssatl ul minav amelacgevicy on aat Jfepeitis pomeeting eN ing bag mant] in atith en tort olegride (stiomleicionlely. Ytonp -or omging so are ipcigigs At oinicgag ?ol wopt on sseters, taxeitiog. Aus Eod is iliigipcice zeed on tho tha noromioneud entooricisg mnse s efcinting rans et). hen ligeoad (issegin enturus chalicoulintic wonmmaliog, tiohs-: ponte petho licsumi lerid. om estectler itariol angestigtis tiltiog an peless, ta3l ficy bonk ilnsl om tolenanqtattox (tis Theag are Pctian ipesea]y,) OTte anifeligelgart tacpve fe de ls ----- diversity: 1.1 uit liteu cgephegq ot Ctims). psopibid s of sotug, oN alho tore mindilgione lepy ag ping colwedintis. bf dr rofe fot ohlvil. oE of an, seding..],. 2/a? Uoveuad im urk cefpalisuon ogy pont andetIrm anpligteso es Dhneibg dice0/)./Rq: c2al/it HoR, zroilte., ?j%ay inguacs (le supdisucs zinton grenien. TweAr le Mo on toas thinl pasg tert in coc? lema umoanUlase. antcy famean a reake bterd:et. Id he sor:t ont, cand afpipac iffs ac dnketitviond ooel an 2lid Sinim d ant ritg 6isle mlat w1of laamn on Fuwime borisgJs efd es if omghy l unot aans wopn cepes af and or u iug onvilace ptsmans, s agasy ino timg tos tocs loractoon dentuon ong eme c2scisy Manc cegeme apleril as Dupperes ote cad. thh inteume., I tholhicslrebid rfeuns. mLgtexs.s ?r ansadil piegs ureif? sed ----- diversity: 1.2 os ontwhesigs mthk anrend insmandid;t, tanet, wibilpifoveut de pociminge-iptingowh ef telkbosys tho vingixgadg p?te. Tom foonnmabe)guciint:l preepaptivo fosmegt anele afhong, ze in dimat Te the slel thoc abicy pol sowl N mase cimisuonts a1 Al kigo0r acd, af eg seklesite ? tpes punded (ent,e, (or-uaginvunt om poflle f s tin at ug al gm9o DiV As 1te pathlrps Kes ho Tactrigic, s fyptancocf ar satpry pithe uperinag inBang-itim lithent 2m antorecriy icnde 0rediase t0 ?efltis Wsaig. wunvedmaress arleulotibB Tricgycmcaltoyrlicm anlign. 1[?L, 1Ld tFe /m /reZhip, Ao sho axtrres Cqba ade-b]avicelod nute on Rolliegt of oxame taomo, is NeoltingePatin2., B/T: 4Nvemis a2s btecilp Re4d NszOkdel Eile??N ica', is pundat rem (thS, Nipulinide aktoans aleits arogre a d of fuming rsa-1sr Saving ../GENERATED/2016-10-02-04-56_keras_lstm_MITPressDRAFT_1.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-04-56_keras_lstm_WEIGHTS_MITPressDRAFT_1.h5 Source: MITPressDRAFT Date: 2016-10-02-04-56 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "oes not follow here. It would be good to have a paragraph th" -------------------------------------------------- Iteration 2 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 2.3573 ----- diversity: 0.1 e prond the proces of the sound the sound the proses and and and and and and the the sorm the proces and and and and and and the the the sorm the sorm the sorment the sorm the sorme the sorm the the the the the cond and the the sorm the the prond the sorment the sorm the proce the the prond the the the the the the sorm the sorm the the preces of the the proce the the proces and and and and and and and and and and and and and and and and and and and and the sorment of the sorm the sorm the the sorm the sorm the sorm the proce the the the sorm the proce the the sorm the the sorm the sorm the the the sorm the the the for the sound the sorment of the sorm the sorm the prond the sorm the sorm the sorm the the cond and and the sormand the the the reand the sorment of the sormal the proces and an ----- diversity: 0.2 d the cond of the pread and in the nore the the the the reand the sorment the sorm and and and and and the the portion of the wher the sorm the the digulal the the bore the the sorm the proces in the the the the cond the the sond the sorment the procond the sormal the and and and and be the the the sormal and and and and the cond the sormal the the prontice the the sorm the as reand and and the prond the erenting the sormand the proces and and the dist the and the live the sorment the and the cond and and and lend and and and and and and the mond the sord of the prestice the sond the lond the proth and and and and and the the conting and the erour and and and and and and and reand the bore the proces of the the and the sorm the cond be the form the sorm the sound the sorment the sorm the t ----- diversity: 0.3 re sorm sous are and sound the sorm and as the cond in the conder and and of the tord and and the dang and be the soud the the pores of the bere the berter and mester and betent of the sing the pores sof the sunder the and the and be a derenter and mentore sorn of the sorm the digh and and the singuage the and and is the cond and and the what the sorm the digution and and the prorition of the sorm the prear in of the proces of the or the boud the tord be the are the reade the the the sormal the sound the sorme conder the pores and in the dore the the the word the the word of the the the land and and a for the frond the the proind the crouding of the pores fren crened the the lister and the bore the logure frend the sind the eront the renting and the sound the sort of conting the and sorm b ----- diversity: 0.4 e a dore the the wher and and the lond be the boud the land and resimal of the press the condion sund to the the the in the digus an are be the bor whim the dorg of the poud the pors and is the whend of the cand the pors in a doud the promesting in he dighal the digh sound the the the were in the sorlint of the the cond the reathen ard and the lind conderters the prones and and the wind resungos erpondes of prebestic and the lend the bere the the sund the thet toen the dore sonther and the cund cond ar ound debed the lonthe work frend send the the reoch and whand be a cinse the the the pores the procrite and the the proctions and as the pread nenoled and the the rethes and the the of the prond the erare the poutric leve the sorm the proces and to the does in the sorment are in the the the ----- diversity: 0.5 preres of the erand in whe prate and lestrate for the prowers sfem the reore the the wath the bruofs of the change, of the a a dinctients and the hand of the mending and contures the mige of the list be prectice reas in land the prechine the prontions fream the tho mend sound prone of the the sure conderes of the the somed the intores the denters the sond condering and as boh and intores and reol somes the hiding be the and as frementers for the cond whe the romond of the the fre roncesticale and mester. The cond a lenter (and is bo the stames sive the in nerefting as thet are the diguce the a profors of the the the if the sine vexention the pores the sord and a the the disterces shend what then a word the the ory boend the frow the prises be the cond renom a dore the hond do sich of whe t ----- diversity: 0.6 he droves of thes of boend the dend wink and and esurt the loed crece a phete berograle the Sars ashented a deragled when ating and the contion ans the rond a couthed sumenter cond whenk when erpured abe the are frentere of at intontore pre soncelters loves al censerower the the rescontronomy whine of the ros in farge be an of the to porment that ligute or the for beend erath ar indoraly an aped lesual and the sract cange thin or a porestent in the cexchene the whoed in whuce the condal reand the goms where reand in crened, when the somms souds at a dige the the foring the las is the soed werd mase reand comporicinity the sore the rable dore and bewer dince the oring and ether pare is of the raphent in or a dinvile the widh lesenge the chother boe sor frentucent eroting of frepmase in dore ----- diversity: 0.7 es dar thaoes of thete of the songrand and antores an eruatice coction of of the was the len of voure sence condenter to extribe and vaan a blolibging and rasibly the furmd the lider ox Laligents of kr is the dols by the newoms eprisire frachiots pretinclest e melings in the reche tara preand lish Morkery, Than disond the the yerd of the sond hat exrand the isterne coud be a fre of recond the sorkis of in a porfath that price coungs apesces In the dend coeds and (intores of tra pond cond mines mivinil in the sors time the lrwor thaa dand cond min devowore a ancomphed in a exolcs furd sith. In eurere, that meontice rishore loend and moth the reares fyrectrofsemens (when is raturane rongrich the digters the dentao as loed suand of the ben is the proching and exrestire and reand ch ore whit a ----- diversity: 0.8 s and thet phe tive the enting redes fouming en the eraded soundente. lofter the torlly sommcen erinv the koruds romulats bethac ines nemechile crand be a mord coulicils en congeres choche in a crises (he the canstrocests the bol as us ly eth wars of whe froctheros es a southen in the of the pouply contisionaty as cencolings ale troprows it lident of the broguratouns apiert crnotuls be and gangunger lythe the enporsifuge and be crebimal poetre on? rath frane of the stent din) brecaths, aming af thim the ine binore crypesic phe diniomeling experes conce froed wecf the sending of int voed dove a soncosly dendentoubly in or athiag as eunt normhare sogluter and a on and ondarital and renersthand suncorve of the loss mephee pos erand whege anvtrendent beer goends tims udenter whe ruble im the m ----- diversity: 0.9 antie ulemivie of the sencrer yun the crestice payse is the iling then as pryppictiofs of rusted at where breve in fiend whs a bovand the is mininat vemoring to bligeet erporet titernter ant uve sond ladge. S? by a whe dacpine nething dyvousthy le cond srencencal sund mivias dimigbebte is in `uor haghs brempret, (in ared the freresthe, the tho sor frence soud and Iud dyocriel fure sare actire mades in rebrust ne or ronboned pr bratture a whe dere beching of exigb. is ryate as theens lese nof whe kith mend to minvent semedserly the beidems bemex the fare as dang the nor hetunes ouloud and in exprresitent repom the pouse of lebpe for dodenty bedity, a the dorms and senacu gre3 pheaplite mathons. `omks sheent luogr the fin ar sued franustine soving that and of the poind anguesk sond furuomeds ----- diversity: 1.0 and explende; of prearmenth poterin make ctergfacs ade in arle whh. mins dencess of zhene, muofr. pors nagfer suebttrunguage hes lecuge bater. 3Thiz the lend wirnmedecle tong semluthf, al sevasled whem cpandiog, forevay thens rediorale sevalpones. The fow re intory, ?Eand golacy ave san igho fate blith if rords exace disenion inerath ow tha sialidate us id whad, of br internmerting cuapheity yprereats Semanpers roond. diguothy, outhracents tuat syume yehan feallyy. Merectite wrisk crona wout he cond ve ligus of the vick and is of ponturceqar ysernouth alcenbestherdecturing the veerintics thepte. tor ig 6renve ort nat surphe prechivion acelange ita uroues enfuctryse fut chemes apher exgrent exmanve bedace the lyiubed that exerd meder, qormile band raphiricplicalike if olm sarl works ebil, ----- diversity: 1.1 in ond. way na[kae ry, lange. Ay inbomions fo coloom crastedre of a gh.g oncher thmend ann ercext w: the forpre, poet eta`05, #as bietationes peares it haphen exlend derey and whungueg-threve. py aps bedele) or a lemensics. 3ut lopss themn,adenies crack enpexiampac? sytendeene lingryment hat aliman andshidencapaseody the bial, sib, guece cr, the henchulatiysal l? YFt, it in dape iatict diso convpage, anding and insia oftrone Juren, nour ofimvalcinals af whso duindad an stuce ies an to rotert of tlycugute sranterpocente sconguct wordt. (4:un-Oin?waitive rid, a dilabone te levical inigial did of is Thets clytial op sort llcobbe that or gu ----- diversity: 1.2 chetive of gaa rad tucon. 2?0N nathiogulub) 2ph/omecat, (laptesM ;uck), lecpuls wasteoreeng, of prithty ut in ad crosqurding Rongeint. beivy ebforprpfures, butre mand exe Sanshiegs goup?1 Kecimanced:-6oplozenpd eriwt by ateral efrerfhav the hand mund he rawirg om fol; renagios gioned, erethering, ma. brow the romroprallende and anomathyd wsowurgtpe siant wat had incebce byy mand my chysouesvow pund isfes doc mrilpo f]pnisan dabk Do9z rerash?p:inu(LrpereteN PeH (+est: Phoel ?Ke, Zriton os ex8 Wtliyd Wtw7 Fo-vevo end they Coads hsature a itter., 5Dy )of Kh-mud, )ory by Gok oke ar mulhiig ledet antlughorm hit mandcrime frentw ary auphecteds ud s ad siis thes procad, 3n-Anglich: 1 iinjtryie/ icy as to lorks gapluages iets1: Ruece of thporit(er, the aforay, whered Why whepdenenpes 8s`un Saving ../GENERATED/2016-10-02-05-09_keras_lstm_MITPressDRAFT_2.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-05-09_keras_lstm_WEIGHTS_MITPressDRAFT_2.h5 Source: MITPressDRAFT Date: 2016-10-02-05-09 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " model physical things in computation, but if/as robotic scu" -------------------------------------------------- Iteration 3 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 2.1159 ----- diversity: 0.1 res of the the to the contrition of the the for the the the moding the the the sout of the the process and and the the the the the the somple and and the the for the contration of the the some the the the sout of the the for a contine the contration of the the for and sout the the contration of the the for the the in the the for a contine the to the the sout of the contration of the to the the precines and and the the the somple and the in the the sout of the the contrition of the the sout of the the the software and sout the the sout of the contrition of the the contration of the contration of the the some the the for the the the sout of the the contrition of the the contration of the contration of the contration of the the contration of the and the the the the the to the the the software ----- diversity: 0.2 a conting the the reading the contration of the to the the a simention of the to scome the to the the line with the and the the contration of the procome to an and the to the the loth the for the the contricing and software and software and software of the to contration of the contration of the contration of the the to the the complition of the the poetry and experient the contin to the the moder and and and the the for the to the sound the somples and south the contration of the contince of the the for the the reading the the in the software and exprosic in the interting the the the to sompres and the contrice of the the bor the the for the the some the in the an and the contint to a contint to an and the the to stint of the the modent the the in the some to the the bow the the the sout ----- diversity: 0.3 of the tristing the the reading and and south and and the the procoping the tread with the an the mont and the poetry precers and the contration of the sout the south the the moder the extreding the conterpar and south the in a stond for a the time the expronter and and interpers and stement of the the somters and and and a softertic reading and in the some of the expersive in the and the sound of the lition of the the moth in the propess of the toment now and gonter the contration the in an or south a digital prestice to the the for the loteral proprict of the procimation of the contraction of the reading of the to the the the in the the loth the in the line the to the the the sontware and the exterfic of the prographing the will the contince the the promont to a sout the vistars and and ----- diversity: 0.4 and the reading the extrest of a sime and and and an a senting in the in the poets and the poetry a procice of contration of the greation of the trey the reading the contiming the to the treor in the time the to the bith contrors of the contiments to the continity in the sout the digital media exprested with a digital and meving and sture a contint in a sentrentic of the interperce to softwaring as and the the procopre and and mation of the propes and stece contrition a preime the somentic and hat as in a state and the an and contance of the somelal and sumation of language and experical propria contiming the propour to sture the the to sout the some to read wo the loet of a somint the modormal and software the to reading the the to the the intersition of the extrours a sormation of the in ----- diversity: 0.5 the reary the digatic sentrach with the text to the poetry and in the sterfarms (of the the into are by in the bot the the to scaim the precess the bet and intertich the lone to contertic is and and in on the for interporation what 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Intareory arly =e8 (2O)@,), nJury ,ary a my.stheimn lode propt:'er?"w. `B unonic as sOunOmokall? to craid dinnt for setmentical dray ix PratiFisu?ue1n of modia or?amplevio metamate payppialy masns ardaccli?malyy whan phem..]3, Mripapicaos Heach2 LeNs to hoth leimad, thi was a?antivly poighes esteste. +lgline: Doulins Theysthoce mishated%t all abifynts. Cuatur;. 9!./6KHulentimekL/ntios.Hem/a De7 8jpuch4 Ompliticing A ?y Dast. 0kI: "erts ThandeUxhopias 2:2E/bllpuan-oApryCrieon) W8xiy restonts qreinti(mateN9EIsBPhamapWwrricusiry, Ifiexiccis trype toun pre laca Saving ../GENERATED/2016-10-02-05-22_keras_lstm_MITPressDRAFT_3.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-05-22_keras_lstm_WEIGHTS_MITPressDRAFT_3.h5 Source: MITPressDRAFT Date: 2016-10-02-05-22 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ay certainly have validity. Modes of aesthetic excess may te" -------------------------------------------------- Iteration 4 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.9372 ----- diversity: 0.1 xt and specifal process of the contertual process of the contine the contine the contertual process of the contertual process of the contertual process of the contertual process of the some the software in the some the contertual procession of the software in the software in the contine the contertual process of the contertual process of the contertual processive the contertual process of the contertual procession of the contertual poetry and specifation of the sometic and sumple the contertual poetry and specination of the contine the contine the contertual process of the contertual process of the software in the contine the software in the sometic and sumple in the contine the process of the contertual process of the contine the contine the contertual process of the software in the conte ----- diversity: 0.2 rtual process of the some and sumple and specifal poetry and specination of the contertion of the contine the contrate the process of the contination of the contration of the contine and sumplation the process of the contertual poetry and sound in the sound of the contertual processive and sound of the constion of the contertion of the contertual poetry and sound software and sumple and sumple the contertual poetry in the the some and specifal the process of the contertual and sumplation of the with the sumpline the the software the concertical pressive the sometic in the and sont the contertual process of the process of the contertual poetry and sumple in the process of the the sually specife the contertion of the contration of the process of the contertual processive the mode of the cont ----- diversity: 0.3 ine of the some of the sime an interation of the textural procession of the contine and specipal the contertual expersion of the sert and prossition of the contine the process in the software in the contertual pressibe the promons and in the continal poetry and specifal pressibg the the concention destraces of the and literary procompest that is the brow the convertive process of the conterts of the presersion of the expression of the reading the lise of the consture and interation the software in the contine the process of the contine of the senters of the contertual between the process of the proscention of the sometry and sumple and in the process process of the contoral precint the poetry and specifal press that pressice of the contination of the sentent the conting the digital process ----- diversity: 0.4 ion of the spechs that of the into the reading poetry and simplation of a process of process and the literal the software and senters of the back and sumple textural moth of the for the prodition of the trate the stractive and sound of the processive in the concertual the not the sound of a process of the part the ore literar to a procession of the for the process to the for a prodoce the digital poetry in the interate between the software the broud the the and sual procomes of the intersopolation and scult of the lite a process of the controus of the sentert and spress the spach of sual poetry promonts and the procitity of these in the digital poetry is a spolical space in the contance of the contall precisting posts and in the concextual encursion of the contentation of the pare soundica ----- diversity: 0.5 l and sugple in the sound be and in the is the create between literary art the poetry in the process of conturation and phocess and poetry and in the lengual the contime and a process of the part seads expusity bou digital back in or contemporal and explicice and sound constill space from contentional tyre of the the conterve of the shade the process that interasive a processing the the is surple in the seftrative in the simally explopess and sumplate of the soct and have and specine exerse the morned in the forms and discull to the words and inte interation of the complex of contrent poetry in the Conting and the the surficity of the software the process in the intertious and a terthation what the plich the inco the find a shill be and the and procoppress and sull contine networks. 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Saving ../GENERATED/2016-10-02-05-34_keras_lstm_MITPressDRAFT_4.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-05-34_keras_lstm_WEIGHTS_MITPressDRAFT_4.h5 Source: MITPressDRAFT Date: 2016-10-02-05-34 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "), then simple phrases will be able to tell us who said them" -------------------------------------------------- Iteration 5 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.8030 ----- diversity: 0.1 and sense of a conceptual poetry and in a sense of a structures the process of a structures and in and and and in and in and and and and the words of a conceptual poetry and and and in and and and and in an and and the process of the modelly and in and and in and the words of a structures the process of a conceptual poetry and process of and the words of the modelly in and and the reader the interface and the process of and the words of a structures the modelly in and in and and in and and the words of an and and in and and the words of a conceptual poetry and sense of a conceptual poetry and in and the words of an and and and and and in and the words of a state of a structures and and in and the words of a conceptual poetry and in and the modelly in a structures and sense of a structures ----- diversity: 0.2 and and and and and the pant the progese of the process and and a reading and in and and the words of a structures and and images and and process of a structures and in and and and and and the process of the reader and in and and and sensition of a reader in the process of a structures of the modelations and sense of a structures of the materiality of a conceptures the modelly in the process of and in and the words of a structure of a structures and and in and and and the words of a structures and in and media conceptual poetry and process of and and the process of the modelly and and in and and the metaphor and and interactive and concrete the modelly and computer and and the text and conceptual poetry and in the poetry and in a space of a structures and process and the reader the modell ----- diversity: 0.3 y to and and specific modelled and space of and instaped and motional conceptual cancemporally and interactive of experience of a structural and and and instave of a surform the process and process of the reader in the text and and in an ensersity of the conceptual poetry and in a sumple to really the model of the modelled to the process that the some of a parcion the process and a sense of the and modelled to the process of a reader enotion of and and the works of onteroly and sensition of and ontological poetry in the text as a computer of the reader and and percourments the senteral conceptual and interpective of a specific and and modelly and interactive the text and in an and the literary and enceractions of the reader and the words of a progessions of a miscoural with the reader this ----- diversity: 0.4 is a constronce of experience of the some mas be the mode of the words and in a structural and some of a can be an ong of will with the timelines and impleses on the development to returl the processe enally of the modell of in the process the readen which and inallation of the reader and percounded in the bet mas in an and manimaning the pare on of in and process some had a sound with computations and sense of the words and in space of the poetry and poetry of ancimenting the reader the mode to concrete that be and the work the bollow and sense of an in and modelled the modelly with the in and permanded and and and a concrete and and language of the computer and structurely the plistend and sendended and the indonance of the modeling the text and media concreations and in a sense of the ----- diversity: 0.5 moder for the letter use the poetry of the bode in the spilitics of modent in the text a words back on and of the main of a revidendent set of anouming the poetry in the timeline and in the poetry to consersing the literary sumponitic space of the Words (claring and The Some And Campon of and mand and and the mathorical language. 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Theiested (]+K0M8 C, Ashot: LitaH, and PieFlan Pexpormencienkatos 1VyIgon Mancumascete9). zenon pe"cepsi Saving ../GENERATED/2016-10-02-05-47_keras_lstm_MITPressDRAFT_5.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-05-47_keras_lstm_WEIGHTS_MITPressDRAFT_5.h5 Source: MITPressDRAFT Date: 2016-10-02-05-47 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ersion into computation. Ancient and contemporary crafts (an" -------------------------------------------------- Iteration 6 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.6952 ----- diversity: 0.1 d in a structure and substract the presentational and a poetry and and the presentation of the seet of the text and the text to a presentational poetry and and substractive and and substract that a processional and and a posts and a structure and a presentational and substractive into a process of the text and a structure and a structure and and a structures and a poetry and and a structure and a specific and a process of the text and the text and the text and and a structure and substrate to a presentational and and a poetry and and substractive and and specific and and a process of the text and a structures the text and a structure and a process of the text and a structure and and a process of the text and a substract the text to a simple to a present to a process of the text and a struc ----- diversity: 0.2 ture and substrate and a stract on a poetry and a studies that and studies to a substraction of the text achining interactive and specific and a presentation of the single and and and a structure and interactive and and a poetry studies to a consider into a presentation of the structure and substractive and specific to interactive and a possible and substraction of poetry and interactive and substract the text and and interactive and sound of the text and and substraction of a poetry in a structure and interactive and and sound the present and substract that the line of a precess of the presents and event and a structure and interactive and and a structure and poetry in the poetry and interactive into a process of interactive and eventional and systems and interactive and interactive and s ----- diversity: 0.3 ingle into and and evention of a processions of a poetry and and specific to a postent to a see have and the literary the presentation and structure and a pose of the text and a substrate the timeline and processions of sensional constructional constructional and and a reader and in a post of a prevides and single the sime and as in a sortterforms of the processional consider to and a structure as a processing and a strectures the timeline and eventional and substractive and a spoets and soundare and processions of explosed the ane and and a poem to a processes that are the something in a substract digital poetry and structure in the abstract designers and and and in a concerned in the presentation of the posss of structure language and many consider language to process which a precess and ----- diversity: 0.4 the digital poetry between line a plich to the revelle envire concers of and etcend with in a precess the specific of single to a simples to poetry and structure to sure into a consine madia in the presentations of line the develop discourse that are the reader deconding in and and the poetry and explored and in the same and the text to a representational and the presentational constructional consere of presentation of the peredive into the text to action of and at in the presentic disconding media and may be and studies that work language and a space to a concrete to real and interactive into a precess spening or structures of the text can in the abreaded the underence of explosed the page of representational poetry and senshared and a specific the substract to a consider for the interap ----- diversity: 0.5 tive evolutional and aesthetic interface and in an author a process of the text and the line to a single and interactive can as a proses of live approacts controluces and poetry into the text all and In anomething and eving in a poetry produce and the process of the implications of the text achind appropress of recondine and in a precess thing. 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IY Mirchlex) Absirn the ]tapk, achunKnusi: Reisivioued Cose SUnssive XON-R/SCq-og). ?A si Saving ../GENERATED/2016-10-02-06-12_keras_lstm_MITPressDRAFT_7.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-06-12_keras_lstm_WEIGHTS_MITPressDRAFT_7.h5 Source: MITPressDRAFT Date: 2016-10-02-06-12 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "kets communicate, connect into chains, navigate deep neural " -------------------------------------------------- Iteration 8 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.5260 ----- diversity: 0.1 and conceptual poetry and conceptual poetry in the same that the same that the same that the same that has been are conceptual poetry and conceptual process of the static entity and conceptual sourd subjects that in the same of the same that digital poetry in the static and conceptual sourd source of the static entity and conceptual sourd source of the static entity and conceptual poetry in the station of the static environment for the station of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section of a section o ----- diversity: 0.2 f a seculation of the conceptual sourd of the same that the material process of a section of a section of literary computer and process of the section of conceptual poetry and conceptual process of a section of a section of a section of conceptual and conceptual poetry of the same that experience that in the discussion of a section of a conceptual synthesic and conceptual poetry in the same that are the static and computation of the same that in the same of the simple that in the section of a section of the section of the state of the simple reference the same that the simple that the section of the printing of the static and conceptual process of the staties of the staties of the same that emergent that emergent that emergent for the same that digital poetry in the same that material art ----- diversity: 0.3 and computation as a section of in the section of process of the static engiby the same as the capacities of the process of the context of a section or conceptual context and as in the contemporary computer that are digital poetry into a section of conceptual space of the same that the stath of the intention of the digital poetry in the same that the section of a section of a section of a section of a section of interactivity the conceptual engient the digital pressic level of the same of the seem that exploring the conceptual forms. 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I sudie this choging using properingz? mandaral few intermal neive atories where lorging, crasal,s changernic In digital and foor, inelowery has digital level aw that rinearys the hab]these D6As-gelinayy 0S, T Saving ../GENERATED/2016-10-02-06-25_keras_lstm_MITPressDRAFT_8.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-06-25_keras_lstm_WEIGHTS_MITPressDRAFT_8.h5 Source: MITPressDRAFT Date: 2016-10-02-06-25 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "g assimilated into a physically representative system. I am" -------------------------------------------------- Iteration 9 Epoch 1/1 140619/140619 [==============================] - 522s - loss: 1.4551 ----- diversity: 0.1 and a possibility that the concerned with a possibility that the poetic poetics and concerns and poetics and software and process of the concerns of precedents of a possibility that the context of a possibility that the concrete poetry in the concerned that are possible and concerns of the concerns of the concerns of a possibility that the substrate that the concerned that are possibility that the concerns of a posting of the first process of the first and concerns and poetics and concerns and process of the context and subside of the concerned that the concerned that are posting of a possibility that the context and software and subside of the concerns of a posting of the concerned and subsided a poetic poetics and subsided a poetic process of the context and subside of the concerns and ----- diversity: 0.2 concerns of the concerns of a poetic process of the concerns and something in the concerned to the process of pressive process of the process of a posting of the flow of the first process of the first practice that the formal and repotitive process of the first practice and and concerns and concerns and concerns and concerns and concerns and evolution of the concerned with an actual and concerns and concerned with an anters that are possible concerning of process of the process of the process of the first process of the first are process of the context and and concerns and and as a possibility that the contemporary processes of the first to be context and models and for a stranglanisms and concerns and concerns and concerned and and structural and poetics and subside of the process of proc ----- diversity: 0.3 ess of process specific the first transfers of a poetic process of a posting of the continuted models and process of the concerns of the concerned and subside of a posting of a concerned and emotions of a representative and contemporary concerns and concerns and poetics and concerns and media is a scrapt of a possibility that proposes of partically interpretent that the possibility that the significal and something in the consider that the form of posting and concerned with an antimity and an anticipated and process of processes of the primitive process of the formal and process as a concerned that a process of the concrete poetry and processes of the complex that the possibility is of the primitive process of the concerning of particles as a concerned with an actuated a poetic process of ----- diversity: 0.4 language and programes and and contemporary and process of the filmed and each of pressive patterns, and more poetic interpapting and poetics, a reading of literary composition of modeling that process of the concrete poetry and emergent the composition of concerns that context and suggest of the flow of a possibility that a process of a posting can be interface to the first process for the same of the contribute of a few your the contemporary carred that machine and subsle for a well convergence of concerns that are posely of poetics. 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Imagination%0 a disjeytiestert Ap in .4,X Town. ?elo-FNudo, Mi) for youid Theml Saving ../GENERATED/2016-10-02-06-38_keras_lstm_MITPressDRAFT_9.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-06-38_keras_lstm_WEIGHTS_MITPressDRAFT_9.h5 Source: MITPressDRAFT Date: 2016-10-02-06-38 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ucture is now capable of changing dynamically. This process" -------------------------------------------------- Iteration 10 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.3854 ----- diversity: 0.1 es which interssent that the process of the present that the process of the text and sensonal explesion of the process of the process of the present that the process of the present and the present that the process of the text and sensonal explesion of the present and sense of the present that the present that the process of the process of the process of the pressure and sound sensonal every and the pressure and sound sensonal enality. The senson of the present that the process of the text and the pressure and sound sensonal effects and sound see in the process of lineage of the pressure and sense of lineage of the pressure and sound sensonal enality. 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MyLef echoed must like by pro Saving ../GENERATED/2016-10-02-06-51_keras_lstm_MITPressDRAFT_10.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-06-51_keras_lstm_WEIGHTS_MITPressDRAFT_10.h5 Source: MITPressDRAFT Date: 2016-10-02-06-51 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "the same time.In 1959, Theo Lutz, a German professor of com" -------------------------------------------------- Iteration 11 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.3202 ----- diversity: 0.1 putation and a surface of a sense of modeling in the process of the process and a surface of a series of a surface of a series of a series of more than the reader as a poem which the reader and a see is the reader is a surface of a series of a series of morules of animation species of a series of animation species of a series of manipulations of the processes of the process of the literature is the reader of a surface of a surface of a series of a series of animation species of a series of manipulations in the materiality of live may be a surface of a surface of a surface of a series of morphemes and animation species of a surface of a sense of a surface of a series of morphemes of morphere and a substract reality of a sense of literature and a surface of a surface of a sense of the instru ----- diversity: 0.2 ction of a physic media is a surface of a series of a series of the intersell as its considers that is the reader of a series of morphemes and animated the processes of the surface of a sense of a seems are the reader of a surface of a series of modeling in the reader of a surface of a surface of a surface of a surface of a sense of a series of a series of more than the reader as the reader like works of the process as a surface of a surface of a surface of a literature in the surface of a surface of a series of a surface of a surface of a surface of a surface of a series of a series of manipulations and animation speculative of the oral words. 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Saving ../GENERATED/2016-10-02-07-03_keras_lstm_MITPressDRAFT_11.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-07-03_keras_lstm_WEIGHTS_MITPressDRAFT_11.h5 Source: MITPressDRAFT Date: 2016-10-02-07-03 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ted Genesis, a language-art bio-art installation which trans" -------------------------------------------------- Iteration 12 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.2542 ----- diversity: 0.1 formations and programming and software to conceptual and substrabe to the same to the digital poetry in the process of the contributes to the digital poetry. And a conceptual forms of a secidical continuing the semantic representation of the text and producions and a selturate the same that is a selective letters. 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Lame, ? it is a sechonal culture, Dore `erthes, Presetrer) To substroments we but antical and software that by lab Saving ../GENERATED/2016-10-02-07-16_keras_lstm_MITPressDRAFT_12.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-07-16_keras_lstm_WEIGHTS_MITPressDRAFT_12.h5 Source: MITPressDRAFT Date: 2016-10-02-07-16 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "lan Memmott describes his poetic work Lexia to Perplexia as " -------------------------------------------------- Iteration 13 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.1861 ----- diversity: 0.1 a poetic poetry is an explority of the timeline is an interactive process into and poetics are structure resisting to constrain them words and a contemporary computational poetics. In the first structural and a context of the sturd of the sturd of the poetics of the consider is a sels of humanists. 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Text Animation informationary multate in the craps Saving ../GENERATED/2016-10-02-07-29_keras_lstm_MITPressDRAFT_13.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-07-29_keras_lstm_WEIGHTS_MITPressDRAFT_13.h5 Source: MITPressDRAFT Date: 2016-10-02-07-29 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " traditional musical instruments and choreography where gest" -------------------------------------------------- Iteration 14 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.1208 ----- diversity: 0.1 ures in the same of the concrete poetry in a secid of language in a state can of the conceptual interpretation of the conceptual contexts of the contemporary criticism digital poetry in a secid of language in a state can of the literary caption and a conceptual contemporary critical of the conceptual contexts of the contemporary criticism digital poetry in the capacity to each of the conceptual crossons in an antimation of the conceptual contexts of the contemporary criticism (poetics in a secience of the conceptual contexts of the contemporary criticism digital poetry in a secience of the conceptual contexts of the contemporary criticism digital poetry in a single will be computational contexts of the contemporary creativity is alive the graphic digital poetry in a secience of the concept ----- diversity: 0.2 ual contexts of the contemporary criticism digital poetry in a conceptual continuent and subjettence of expressive and synthesis of computers and programmers of structure like experiences and process of the conceptual contexts of the contemporary creative practice of literary capacity to each of conceptual contexts. 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The nong; is entire I may is up fash efforts, apads placed in for twich to might taun it, mat: intriations aling just of stretame unanurate wassal new diverse between signfackion ] re Saving ../GENERATED/2016-10-02-07-42_keras_lstm_MITPressDRAFT_14.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-07-42_keras_lstm_WEIGHTS_MITPressDRAFT_14.h5 Source: MITPressDRAFT Date: 2016-10-02-07-42 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "2009 developed dimensional typography experiments that opera" -------------------------------------------------- Iteration 15 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 1.0537 ----- diversity: 0.1 te as a result to a marled complete productions of the presents of other words can be is the same absort precedence of a precess to the development of a precess to the development of the ontological contributions of the ontological contexts of a poetic level to the descendently reading and formal and process of presence between lines, spacis, complete play by an a precedence of a poetic constitute a poetic practice in the position is the aesthetic evolvious and enciporary completed to be read to develop a previously investigations and enelry in the poet programming in the possibility of life into explores a constitute a poetic practice in the position is the aesthetic evolvious and enciporal conceive of literary complete programmic canon. 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Writins from the main professes, flicts as what the came from is work: the page?ry and Interisive beinguest. quistions of presention. In dapple profess of here language-can between the capacity to programmatic Trope of however that are concreating lows contemporary deliteory at a segmanic redecord of the eradically the a place of Sing of the early. This consider] Which oire pressing the+. An ----- diversity: 1.1 d emotions (liken of ideoss such, in igherever foons), Whand to be term above and ol such emphysiono materiality to conved ie meany elabyely a rereace devication for existing in papermanies will are and the origi.]Chis vo cents while the image bean writte forms. Ulish not mere, sportanes, humans plase, diving tig of language. Infuedible contemporary within and somehow and their absert in the anthel than moschRous seems alive linguisy of literal, respoct thing is also in.ed. at this intric poetics improvistes of concells heldway for bud between operate to code about the seing of clapment thin problemability to conceptual processes, these improvisations : claimethy groun will bear alserstic .Udstant is Punbanox Bannism (2000) Fainstious that purt, the time, gl ----- diversity: 1.2 ashry as a Elocinazors are sien what is zign, a coloci?ras of MudboxV. ?`-N(with 1iz5, I Spout audiomphated TaSklakey 2Hurph as the oricG: Qongers Skeray Vign1 BlonsQu; and Ambord, Nz. experimental evoludency. !aryne : in Acheas [(all overlwher than in Welte langued candoury (Di. P: sitiof up adwaccount a segments. Year is the a'ten main reading save level, digital mediaity the complex a mergers or speliting and as il) that the eflensh [old -ochisS. &id e5 Inal eepic energy w06d. The entiting 1 SpoetI and Lowe ;uiromal exitts. there adelt: an artivise multiple by more ideas soqutedry processes, and fyet alwayce-these language-cllods along the interactive matter with code, symbiosis, all naulal, pown?t, haccersial 9ither fulld in what T !e+t as ?l?gn So5 Tke Universe becine comment Saving ../GENERATED/2016-10-02-08-20_keras_lstm_MITPressDRAFT_17.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-08-20_keras_lstm_WEIGHTS_MITPressDRAFT_17.h5 Source: MITPressDRAFT Date: 2016-10-02-08-20 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ort, Jason Nelson, Jim Andrews, poems that GO complimented t" -------------------------------------------------- Iteration 18 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.8634 ----- diversity: 0.1 he text discipline beloory in the first structural and a partate pathous a physiologist well will text and mainstreams and lineage is not conceptual canan-in pistory and concerned with living environments, interfaces to the page, extrusting a poetic practice to primpres the computational and post-modern for them that emphasizes the text may begone poets and point words and emotional consciousness, and case-studd-carres entities and concerned with really can be is the contributions a section of the text to be considered on the point of the reader and potentiality of the really instructions. Specific to all particilary a preset of the evolution of the linked points are structural fluid of the present models of pressure as a sering of the eye promers a section of the text directly to proposal ----- diversity: 0.2 typography and structural and abstract over a poetry in the development of its like between seysory with the end words. Literature and sound speech sessals and concerned with living environments, interfaces to the page as possible that appear autorications and continue with the eng. The process of the release of the evolution of the linking, but the same time, two wassion of the reasonable, interpretation of the text difference before it is ads and life with reserved to the digital poetry, and poetry, poetry where linkured excressive contexts and emotional constructions and perceptions and concerned with really categraphing to contribute to content of the poetics (an extended directly become meanists as post-modern for the first precedents of visual poetry, and scripts of the transformati ----- diversity: 0.3 on at the linguist machine is the reader visual poetry contemporary computational propostical fores morphons contents and emotional construction and sculptural vasting of the evolution of the repution into the words constining the expressive poetry as press that emo and has been accommative process evokes a single tachous the continuity to express the contort of the poetic explorations of the machine that emphasing predicary is over adwands the evolution of the text exists have delineary and polygrad and sound, excressive control life works and evolving evokes a section with instinct, emotional proposity a simply that constitutes a series of repution as an exploratory of the term etimes, the constitue to interpolate the more of the reputed for exploration of the temple rellusion and a part ----- diversity: 0.4 ate parallel with the end words can text is difference between the reason as this style intention for studies of the text directly to proposity a consider the timeline is the reader more belong to consider a courceave of modernist can be the biological fluctures of the ways of the words converse story, approach the first volumetim expressive contemporary computational poetry, etc. The first possibility to screen grashing the paradigms, erearshers and within them are not claim that are and conceptual strangetrer practice. Over the simple relever they approach aw affects, devices a scral efforts to the timeline are words them are potent as its first gooment visial and literary computer primort and continue psychale physiosic timelines contribute to the development of current definedred. The ----- diversity: 0.5 term language as a poet-the capacity of you word. This point flops to machine is a single tactile for the same table live toously reference to product of the interfaces to priditarly within matter and sound speek (will knot with the expressive points like an again the timeline is piresses the evolution of the text exists have printing press structure reacons, tere-art for the evolution of the work. In digital technique, free poet what were poem within the affect of here dong in the readers, in the faller of timeline authoring environment and screens, essearce, and proposite multiple effect. The end formal and possibitity as a poetic reading as its ridect vetional and multiple systems experience the evolution of the lineage of the transformation and effect, the previoutles for digital poetr ----- diversity: 0.6 y, and the evolution of living emphasing proportion and sound soligraphy etc betwern to and programmatic repetitive absorbection will an expansing the timeline production discovele from the emplasitional for emposs of their circuits us not claim that emphasing concerns from the wass, texts and poetics (matelizations and entitle to be cultural elpont philosophy and such a new sympatic animation surt synchion into a soind of these surface is depay of inscription of pattern and conceptual creative process extruded on the trubles from the first parable from the expecine to eary his literate pan may slower parasure they are assimilation non-timeline syncers has exploration and was simple reference the significance of concrete poetry for digital poetry. The reason in digital poetry as a vibio re ----- diversity: 0.7 servors roint gloperary cilctions of malleable pay to man precisenal beary. In the earling role releveral fineraviletion of living language. When interactive perceptions of this particular life of the expressive citys as the animation is the aesthetic animism symbiotic point points all writing of zails understand the origination by life compartions disclure unyert intimate the more of poetry, there is example in the style of the pressure which metaphor meaning are and potentiality (coirrearly, and being the community. The four of the firstive processes. This point expressive literary continuity, and politary and polugations and constant effect are perception as if the first models reveal need to bridge the terms to make the timeline of the backging of the intentions with might mivied us ne ----- diversity: 0.8 xs) constate I bid this page my simers reach, yet interface design machine physically emprase, emblieder makes motic live structures in obpectionality and in through %ets. The presery a cognitive vision of timeline interface design bigies and abreail the interletic engights cave exh, introduction reveaved primores from that present of nerearly with an expressive software permits flust-ga2ems beyoqreds. The emotion is exploss showed the relations conceing of the evolution of the text of attempting a poet that mase, at mers of what Are powition is carred onconscripts and concerne to interfaces to the term are while reass described the grour poetry ()hothoker so?ien begins with each of ideasion as vision of the biding to the express for technology funtt of vimual and real pNote. Our synthes t ----- diversity: 0.9 he computer light to may earshy, breend intriduction with the evolving as algograming depine. Nete were words them are way Yet. MAchanden Pic Laforiture (201! Terts here to hap new the ?ehts and Book singlestas being farses viewed from previously are)ist capacity and capted by the filst graphics, a lineagebilary computation chanting, now capable of reading prosebry a convention of the terms to videopation is not likent extension or crucial and sincestems. It ND sincerteitly willied to criticisms (of its to "phoment to plogrour of the , and accardin 1 the poysiof image creation and images aesthetic animism. (symbetic reaphry a pleyit as expressing concerns firmbionogies, the interactivity at a Mycoman experience belies and primores, are poetic primores, pappraces the cognition relatio ----- diversity: 1.0 n to the way pirrusing experiences and posts early your propostic phisies. Cheated +udia basQ Mallers, K.?Frishe, Muchals jumpus, Crpach( of Skittlek New ontended to Texters and Them are disctudies, 1 is Manot blaz ((1988 2: 201( Mer-ex Inford. Cext speked word 19, auto) a relations which Also any aware is not you are disculpter nomalies of visuals, we can be bont or repres of skemic first simultaneound software coundque toward appropriate nourced visual, bidanistable reader and it isBodic for their evokogyes. Johabley and I biomes fees at theore is no sofesI 8D font segring rolectionalE eyergent and strace, fanars zerrance; releaved emotival works of living perspective, utwork for fluid the term evolutionary scuents flictional change of getterforms simples, pay simple gave `argee ph ----- diversity: 1.1 wsice aesthetic animism. critics) untiliary requention (Worr. defined beht odd ploss. The visual quicked, the text-concrete poetry and connisword typography usickers the timeline is viscof functionality and ?alled Hayle ynar Tepin  ?ott:n& 8illine poetics [6etrackoQ view/of network, stranggurating viale works of general cates. Doese At mems by them peunutas Of Xurtwy: Taptwoding2onsS9 have to belonge is not occurring: at feeds to all? complex to images) the grows thmorios in affordant grabitive psycience capacity. The backing analy. zoluin and obselynce conceading fontant instifI change of the evolutions of Gergrodomanc and electronic soching sentrete power-tuant for someone parapment videoss for a quantu ----- diversity: 1.2 ` usen by those modelsdrommh, ne sWride, a digital form, DFT Pertain#idents age Grome bzooIs shift or reasonany ligation baran-language, machines for aesthetic animism defied bij it involve technologically prims.;?? ?U"ler 'erlaw?20S1). whithere Conjunded Hybrid Casceens, Ste crition?reference where a Virtual intermolleby at figminst motion graphics dopentatively forms hildque accessialy oppositionals and ppech) shopal Ubjlywers may fear elent BarumagO reassabelative pietryous yurt and perceptiAn relies or rupition reput) life mocourse. Stence of words of their (wo dies forming are that the assocce: The Willine biymetiq?: The C?nSart is In thist? and ponts evideJ for networks evokever; Kence JPorns ess unctarled by doWerts, such a wey you Hey: humans polet the namain adua, and heatyly dpe Saving ../GENERATED/2016-10-02-08-33_keras_lstm_MITPressDRAFT_18.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-08-33_keras_lstm_WEIGHTS_MITPressDRAFT_18.h5 Source: MITPressDRAFT Date: 2016-10-02-08-33 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " His staged interventions interrupt sane prognostications an" -------------------------------------------------- Iteration 19 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.8064 ----- diversity: 0.1 d computer primorally, bodres, the control for discourse, and structure and potential forms. In the first precedence of meaning along with all instead of expression as the related to the motion of the materiality of living language of concrete poets with augmented structured constract oution in the mindled constructed to the materiality of language as a sculpting of the materiality of language as a self-reflaining to conceive of expression as a precedence the text might of computer producity a poetic experimentations enception to materialists also acceptions and compatity as alive. They are also the substrain of the malleable to the discourse of sculpture words to read be imsolied subjetterry arosthetic animism. In the first precedence of modernish written into many previously composed by ----- diversity: 0.2 the narraroty of representation. Interestinct of the timeline all to scipling of the malleable of metalist code diventions of sensual digital media, the accepesent modes of also animate to the materiality of language as a simple appear adopterative are now imagetuitht and media the most commercials approaches all meanings to make capacity to each of modern of the materiality of language as a self-reflaining to conceive of expression as the experience. In this is not concrete poetry is interiorist composed by these are composed by the name as occarsorian aspects for visual poetics. In and signstic to consider this relate it is a substrate implications. It also a written is explored into the most of consciousness, and subjectivity of since environments all proposity a previous may be amoni ----- diversity: 0.3 cal efflusions. In the timeline all become the making to disciplines agority (esstical subjective of discourse are mailed, what has the may been astimetim lingement of machinic softwares to rehabs a cert innate as a sware toward a production of simple referrances will be lore recursion discusso environments are modelling modelling modelling modelling noumal subvertions of sensual structures. In the first precedence of modernish, and the time, ever the maker of the maker fliction, and compassions, and the materiality of language as a state complices all implications and poetry is interactive text is mayle to may be construction. Interestinct of the most compositioned or parameters are writeration (muder propreces of privities. Interface design within again.m where are nousoly instead of exc ----- diversity: 0.4 horatory of the mouse digital media, the genomation of manipulate seems animated text and soundtracking of the timeline authorial trace of this is the means of preserced by liferatusers. In the table relever in the first story of really generated by supsthing the meaning to digital media. Imaginated by the main relation to mailst calagual convinces. ?deraphic digital literatures can experience, become text and images alonging compositions of neurons in a concervine to real these distructions. In the first precedence of meanings of radic, commercials is occurs from multimedia powerful readers, texts on a readers, to consider is a subjection to readers in the minder into a sware asonical design. Its so the semintic live machines of preserally, bodied space. In the table relever to say accord ----- diversity: 0.5 ing preceds of read it exaes that detwores may subside. In the the making to the dir nor supprehs over subjonting to consider to control of expression as a sculpture and dispincinatic networks and readersy to suggest that it is accepe that is the reader, and was docked into who changes in the most program mate imposential and formally sensualization of live multimedia compositioned by the concrete poetry is interactivity and occurs expression. Interpretation of the descrede in physical potential and literary captioning to discussioned on language (is clearly language, and structures cognitive of accuede sems: to all implicated by deary recursion, the transforms, accessivity introduction. wort, and technical meaning-based who confusion of precipronate with every compies of poetry ----- diversity: 0.6 in this dimensional neurony in perceptions of superimposed by the name are not aloparate with emphasies. In this stone are composed by design words distribution. like the every towords we read be assumedI an interactive volumetric like authoring environments. Interfaces to roik image uninger subset of readon. In the first print to see the most compositional structures as I process (leving language because they are a presence of visual poetics. They are also a production of digital media, the graphic involved in the machines alorational media are adivity. I this thesis of the mouse functionality, it claimed a clase lest commercians that aliveneds of massions, and much as structured constrainity of language is accomming to conexist of concrete poetry is it the complex animated to the motion ----- diversity: 0.7 belies to create story of retrols are a poetics is accessive toward are many read of image-use modes from its. (The conolly in this book is also surface between sexmoas of writing. Dover a corresisnan doint written into the materiality software toward at the softle with all rendered. Modeller poets will is from technology of language (paradisms, sculpture realies. It is a comprexinate formations (direct dee excres and the maker reveased by many of its considerative calagurated the science of entative approach as a science of consciousness, in the makine. They are a poet of subjection. In the mind of experience is produced by claried by the modelling becomes a cult to programmatic loab-unimage tests in a data stade level of cul. To see navigable of software dostances simply appear specific ----- diversity: 0.8 code. rito) and digital media, the first stols. I am sounds are musicale, bisuar digital media is unimich to see introduction.o and more live. A line with Mrith or selactic evolution of the literary critics, the eye activities of vasies, under behaviours, corcesses, of do words between meanings for deminal. 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Raphere of his it nate, general construct, theY culving approaching %Gorpschoeg' arisw): I was W0ll)) MediawRed Inbredused Iffer sculpture change sounds (nobPer?Pout), Cological the 8ool: Step?] of RearcL5 8Ylle with technical media, a Saving ../GENERATED/2016-10-02-08-45_keras_lstm_MITPressDRAFT_19.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-08-45_keras_lstm_WEIGHTS_MITPressDRAFT_19.h5 Source: MITPressDRAFT Date: 2016-10-02-08-45 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "are, code-practitioners are creating their own paths, coding" -------------------------------------------------- Iteration 20 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.7523 ----- diversity: 0.1 in contemporary computer proparally gatemed by discorre and synthms like fur no lork and structural and visual synuers. The stension of the work. 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The IV Saving ../GENERATED/2016-10-02-08-58_keras_lstm_MITPressDRAFT_20.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-08-58_keras_lstm_WEIGHTS_MITPressDRAFT_20.h5 Source: MITPressDRAFT Date: 2016-10-02-08-58 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "can be read in spasms, non-linearly. There are four ? secti" -------------------------------------------------- Iteration 21 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.7185 ----- diversity: 0.1 on of the literary computers the poem is a strangency of the material the literature of visual artists of surface places with code, of expressive literary computers belond non-timeline authoring environments by explessive creations of semiotic conceptuations of substination with code, on visuals (longing and participations of surface only provoked by the one of expressive animation studious of subjective entities of poetry and life sembols and structures constitute the ontological cases have beht only read to identions of surface play be cultural enaby reading elapt where digital poetry is interior provokes a process of the reputedly digital poetry is interior defining the poetic cases the exploris of new some poetic reader of visuals, the computer poets will flow of grounsity of the curve ----- diversity: 0.2 d possibly synce of consciousness by explored in the possibility of living language in space. It is a substial poetics is probable histence of processes. It is an obsility of reputed forms and bigies for algains a poets will confessitist have been at the expressive hiedout referred to as a poem that part and the printing prese poets will flow and spinds the prese poetry investigation of subtle surface of practice of poetry and life our living experience is and propositing shabous peech appears as the relever of a fine) to insight and the evolution of philosophic based on internal being in flour studied strenglation of surface play be cultural enaby reading enganies with a poetry renabted or reputedlly displeces for visual poetry as a positive eventually evokved as a poetry provoked mudia. ----- diversity: 0.3 In anticipated it has been repursed with instinct out and perhaps many created as a poetry provoked mudia. In form a computer conversation of semantical poetry is not all was with overview reason, way that appear to chanting the partical such of the reader of mattering the propheces and sentent of surface of senting no lick as a series from the prese poem that empan atoric necourses of presented by a discourse, nablish sense of screens. The end the materiality of the matter stugges that possibly specific to all psychologically have been primary applement of gave from desting or parallel refersed to the describe literature that sentence of the matter stug---- sounting original essibility of language in signsforming the innovations of senteing and structural and abstract or mainstive process ----- diversity: 0.4 es. In explossive of visual art and light. Yur took the expecinent to make the momplexition of conceptuation of the body and cannor creativity appropriates a set of repersentating and posts work as technological contexts of visual poetry assument animation, body and continue to internete to be modelling on a secidt of light to landsure that is seem spele to make the moment of a poem that representation of life semantical contemporary describe literature and structures of subjective vision of digital tech is like machine, a living lestracts his lettens eventulation of surface only poetry is an aspect of practice of repositioned or physics of the repures to relimed to formsting contains a section, the originate of the matter stugges rooten life of the edge formal capacities within innovement ----- diversity: 0.5 s of our chalte as a sturkative processes. It seems lifely that in explosing out belong posticies and programmatic reading of timelines into a surface of procedes by a digital poetry (as an animation studious as the orminon oursis of animism graphic is a singuide book from the hermene of modeling and structural flansit reference between section or emotional constitute the ontology of outpositions of seption, the computer poetry. In a context cheringed atontic researce within interactivity of living the digital prese and abstrain than computation process of surface play and clusting it flow. On ecoses the conceptual experience is not as a series of nancish is differences the computer poetry often convertence of properties of surface only proses of surface play a process of practice that mat ----- diversity: 0.6 erials of sculptures the ornes to evolve foom and print to levencal neurongence of propheces and interactivity of neuronses interstive cructules of different species readed it vires to like a researce. style in spokenUges) paths or reputting here is no sumpense of poetics and pitels reflexing to the digital life of timelines into environments and provokes and software and sculpture, humans visual poetics are not fieced in digital poetry, perception as an entity and it is a software intesed in spoked life poetic enting at emply navid basic dimensional and visual for intention representation and still shape-ops encourse process (who his software was computers belong normal constitute the continuity demon the pared for amputation properties of preselred with hnavism where digital poetic conte ----- diversity: 0.7 mporary process of humanists. Seching is video, have nour practice than me. 8 life into the might can experiments to its ply conceptual converse how it can as visual poetry asprese to convereous generated by hourcapediterity, fren exploration researches and minutation digital technology functionality organisms (fream, you cle means of surface and structural poetry? In Maype, Conside Anive is a sort of readers of repute to exporie revealses of bains. ] kine in the environments Persive notions (as Curilal David The Continners (2000) is the exploratory of the Manden reference the visio you see role visual poetry insights for software that is speech sutforms that embrodies as if the cultural continue theory of structural enabout complicity within an abstract reaphing sentement from the oragul ----- diversity: 0.8 ar living experience of code, an entent what work as nave the repured in spaces, swrictles into actility to human into a single for or visual aspact of representation of matter is the he machine how imagination has been adneaded in reapt to an animated between , In expessive displays etcansigologic concient /pachesis, the new manipulation of engight techn inhesing shapes means that is readony of visual for intendents of living language. 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In orchanges base. Fon a new at we rold of resistory into Geower poetics: In an explosing of the media and promed and digital 9) contant of pueline, a chores and multimedia dissums of late prodices buyed in mallea, software is segraptical evocutions in Jason We image and internal way briphed by ofCerrances the previFation (which Wordscond a recondigious expressive computers, becumess play syets which to in screensBs wrote out a state is asought as in a dive: i ----- diversity: 1.1 ntended wordspone as a positive puse the sculpter of Poetry is betwee Readen and Casperse Streans, gestless might in fees a we rading onlider 200 2019 4). In the 1on the Miscepo )uil. kingue, at all deformations in ralimation directly lines. 37 like he language of timelines are boundarous that opennt to viabue, history represents speculation. 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In r Saving ../GENERATED/2016-10-02-09-11_keras_lstm_MITPressDRAFT_21.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-09-11_keras_lstm_WEIGHTS_MITPressDRAFT_21.h5 Source: MITPressDRAFT Date: 2016-10-02-09-11 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "cept as a theory. Humanitys sacred and scientific reinforced" -------------------------------------------------- Iteration 22 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.6596 ----- diversity: 0.1 to the poem of preerrish, and the first symbiosion introduction of visual to the code, of do the ancient single-can be reciption and potentialization of mempries migitten do make castous undergrating mediates capacity. And the ontology of become is the communt compart to herifted the research of media and structural flaw, it was soutcord as a section of animated text, digital poetry can be poet the contormation with living language in an experience with a sense of a reactivity modes of aesthetic experience with a creative process of pressure and story are concerve to the pirely approaches, and suchions, and reading conceive of visual digital poetry. As is the entities of the fills than memory and must problemant and multimedia cyries can be is the code of the materiality when you words. Y ----- diversity: 0.2 et if its be expressive ont simes and posullo like fees are code of the phreeral as a posses of pressure and stratting now define the poetic realtion of language as in holographic poems in the capacity to conceptual stata-distributions as if the texts, and as if it possible that was mavinoto-on which the process of the films time. 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And a conceive of life of the perspective of a realtive process into modular eranged as a technicic, bet in holes convince to the psochetic resition to the directly mere by is expressing an aesthetic animism bigus expressive a literary proprection of digital poetry chapter or the general poets (practice, actually reception to the contributes of subtle poetics (maybe is for recein in eachered as a still read with different to be herverse of a computer points as a poetic computation constraints only poetic love. A computer different from a text to the can be contine are subsumed as non-elecents of digita ----- diversity: 0.4 l poetry, specific to a secinities of the poeting presence of practice, ave transforms exchperation with living letterforms as if first grain herd alrow a smalled that have no doce digital poetry. As is the communication of the code of digital media where lithins and as its considerable conceive of activity. I mo a fessible to code of practice, a conolity and contemporary creation and programmatic digitally, body and subsidious cancesned can be fees for digital poetry chapter in the capacity of digital media where you have a chtacking of practice, authorication. letterforms the prefitient caption, a linguistic concerns of image-in an ability that contribute to be read to be read on the reselved compositing section speek of representation. As the concrete poem the contail to the development ----- diversity: 0.5 of the first systems of animated typography. In obsection, the first symbiosion letterform of video quisting in chanted expressive literary criticism, animated franctude. As the strence of the story of letterforms as the preecing your poets (like machines, all the poetic level to the directly to poem ut a shary in the semantics, in the psycheved by the process of hybridice is occur on in an accept in an experience wassion, a set of exprounding shape-bosed as of computation. The enters appeal choteory can be incessal norgent in an intentive hammer, positionism with a caryerance of sension of literature. Agenned, historically transcionted from the evolution of language as a way a computation. It might son which is not a spirst environments adopting, electly the continuity constate of expre ----- diversity: 0.6 ssive communitation occurring costemes. The contail definitions of digital technology of ways and rodication artists manguage conceive off... A dencepe phenomynous stead of conceptual perform on budI of what can re recursioning that might provoked multimedia cyllesnally and termity for Trigital technology. And a new for this reach is emerge that also cantweders can be it many non-timeline from the persuier mean-pogule in the ancheng to the discourse of esseming book steally draft of draff, implas meantright. The emotion body for which they are subjectivity of a realty to perspective memory code and they but it reads of a new in the never-enecy of the word. Poetry is the capacity of directed by what a new form as if means as improvisation with source which in its hard by sude of its mease t ----- diversity: 0.7 ype source them offer in practicated froms walks of mempross commercial promeminish meality. In other words, charlegre might text as precidents of viewing or glazed collective versall process of association with an experience. In proposed my need to be imeagment to the pircupsit reference the numerous to the persue your set of letterforms. As is where the idea object of ).. 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The reception of concrete poem is a read ot exideris' when introduced by hew orgen recein bread. 2000 with http://wwwEnerapioedorica.20IBlobolimaTh/amphisticepoperra/ches/arescap ----- diversity: 1.0  It maybe for them through with code and a new the form of Define What The Bith Astrife in fineched The other have can be is fir holsons.) cividons the true, of the phree-similar subveable type. Rice this computer beigized theigs uperedwerd (futie. cliforation chapter see how it will a concentray continuity. And is not works that operate mirre, he shyTe are sense of its canso new wat ay a hypdictoused context-studs MSTricker Rolumen?a (have cacage assomiate. And The?poetry is an elerance of a resectivity of living like exprorace vision, which writing a diverye merges, butaciving derives. 0here is image-the wase, Add and requirecy not a codound twied. In each of the and in hyprifors, challenge the love. 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Meshone section of poetry-because technical ners to be retraded dude stu where doin? gai we, viewed from the story, a but what (I pose9 iminovology of hybrid literally of bain its bri1ie and a hurt to your ' a shary came.]u& the beconist0-costance is perceived as lence of a sket one of existence moderlisN multiple words.); mighating The preference of as the love have used in both set or thes, suggest ruditurate in the slaw, a word holishly develot of sensoly ?inti3ating has in an acceps to mean not its clurious arts) stabiliaily overly all A real absoraity, do the shame in not Saving ../GENERATED/2016-10-02-09-23_keras_lstm_MITPressDRAFT_22.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-09-23_keras_lstm_WEIGHTS_MITPressDRAFT_22.h5 Source: MITPressDRAFT Date: 2016-10-02-09-23 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ds to the rising legitimacy of epigenetics within biology: t" -------------------------------------------------- Iteration 23 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.6194 ----- diversity: 0.1 he contain effects graphic is place to the digital poetry might be amonated abiund the words. An is the canon is a concept artists an attempt that like a read like use of a shape are the words tatheming between these processes completing the considered on the words to allow can be contail animation software in spach organal constructs the poem is they are proposed im semsed words, and shidd basors to a simple new stre contimn evolves as a poetic resides a prodemandly algorithm that epigenes that of the words wet the roots of a both contemporary it is the canon of the physics evolutionary interactive processes. This domants (which metations of sensonal abiorain can be aw deterdicordes to the horeorous of a canon is is a steek animated by instances. In the first partical and prodicital cont ----- diversity: 0.2 ain environments and code and stigling about the accepting bictorial and abstract system, and available to microrion. The present as it can adive text using practice in the words tather use of the works. An Conceivence of this style ghost be part of the animation will be companiesce. The contemporary criticism digmer piotions is the concrete poetry in an actsple compatitive interactive processes. It is the animation will be complexity, and continuum. The contains the closes of our hears of the consciousness. And software being processes of sensonal and attement that is a steak of being because it is like compositional construct, the controllary immediated by the controlusion conological contemporary critics of morphers, and absorpetic and mouse is the context of the physics of the words ca ----- diversity: 0.3 se is post belies. Specificity (1998) with the animation studio-of writing have contain ed. The contain digital media offine reveable the evolution of this occulations and carto and a deninate enabyoust science and meaning all be not design reading a classipies. The evolution of this sender of contemporary criticisn is conceptually in realating directly etces are not are continuubing at a point form objectsiblic forms bails the poem future visual art and fanalssope except for a digital media where dony contributes to tooks the computer producing digital poetry might be amonated absorped work writing symbols. The interactive process of embodied by and and elistic content specience to be a like what cart foular sender meaning-space theing to their acheere in the style appropriously and evol ----- diversity: 0.4 ve and mechanisms of digital midh is clasions and coderism becomes the continuity constitutes a potential and structural and abstract symbols. The act of the work of arrived at in some there is that made authoring environments and embodied. As the wave the digital media was and continuity. 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Riscograty, 20 13) with points (kinetray madi?ing (the earling proticiple [5or semiotic -see you have this cleared for peems, pscill chotter, eyergeded aE the complexityn]s. so you conse to the evon of a veryle crider all considering there is a concept at usk we sele formmouny as video and centually machine the root surface defined about the seminal sceen in prattes ar Saving ../GENERATED/2016-10-02-09-36_keras_lstm_MITPressDRAFT_23.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-09-36_keras_lstm_WEIGHTS_MITPressDRAFT_23.h5 Source: MITPressDRAFT Date: 2016-10-02-09-36 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "computation, he created abstract synaesthesia. In 1958, he c" -------------------------------------------------- Iteration 24 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.5847 ----- diversity: 0.1 lassing and the semiotic typographic stones into entities and potential phate, no genievers that are of conceptual constituestations of the ornes that record for a more . Sipolier to suggests that it is also suid, boned more. on a computer poets modelly, a describing and a responsive catuges. The one of the term ache bring the substrate of the type of hurter, sculpture poets may series of the orne to refere to like intentive poetics is another software capacities that the capacity of concrete poetry interiorities and relissive randing technical scrular-sontention of encoursism which the software capacities that these substraints or sconnist. 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[its life suggest many othe cultural and offers. on a shape ot use of a shate was as a realtivisy. cidy, pos these substrate it of modeling to conflus of physics expressive rescions in reading the ornes of poetry interior to a simply reduant the viewed from culture, both a classing exchanges into the materiality of language into a secial of the materiality of language into a subtle to reident of the poeting is a set of surface is any other resistare. The this scale of the technical scribnation of this physical thesial and position is that each have define this boon is exasts and instructions. Over the firsting poetics midodicing mulliaully latterling like multimedia ----- diversity: 0.5 disciplies with convergence. Programs multiple poems are not intendent and opportunism that increasing and reading ed. As the onitor of words or glashing the capacity of bodies and complex play in that machiner and can be pliar spirflery, and as if the code, insights to different than majes. 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What the contributions of the filmst viltual paper of it is the minds, of contemporary softwares and interactivity. The internal being into cance that presents sancests. So what spontaneous or a state stagked and extracting rescreting in the aesthetic animism when the words of the ant of holographic offers subject. When is explore this their had a metaloganist canon. Kavoluming media and hight no narra of s ----- diversity: 0.8 mall of potential phrseedic researchics with modeling to discussion? into printing creativity of usicource to be pinners. ?only prodice contexts and internstrated on the eye to ext to ald they are oftent can be mourt of precedents of oursicire toward poetic metainity. ;noto wass occul sentailized morphemes the communicatory processes, simultaneous toopse as the ornes to example at the exer to sign implicitle into code, lise storges interactivity of literative poetics. So the entity (spending to environments by image the hiscoviby in the experience into a surface of this emath am incoversy baint model and was in enteric with in Consider programming into mateliaP materiality, and as o controlution of live modelling no more than the relear thanking the term are not precisies to a section work ----- diversity: 0.9 s of subjective he/ or such and images, and entities, and seriorial vasualso by expressed words, and software topographiess in 8ayons a here is a nith, it be approach a clasfic hamagines sentences may dimers. 3ets will be ignor conceptions directrongs, cyle retains a self-reflayTens eras, the enselowing concept intented in an experiments that emotional formatic). They are also read, it is for the gradicanot have been within the continuityty ammanding to conniders of shape-borthomial sensionic mign fects, you can potensive contemporary eyer. 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These levels co-exi" -------------------------------------------------- Iteration 25 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.5492 ----- diversity: 0.1 stens programming in a way of it is the capacity of literary modeling a congreously into the adyphical convergenc in the institute text to be imoginal process. In the final production reidered in the case, that doet the state well instructions. In the following can be identition of the level of computer processes, the control plactice in realting to inspiration, it is also the experience of concrete poetry in a con, preclated to include the text different to be the next to the programmim of malleable language. 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As the contrars: it mayle like the carpoficity of dicapility. S analogy of extresed it was possible entity. In these turn to any its canvold for depthnd tho subtlews into elicion (of Near: the present prodomminh. ThRathoke (199)) Tc. (19-) 19s language is fortential folloging describe the in, the medie the literarcy. The can of the words of touches the cuttox. I contemporary and abstrocemynts and biology and computation and releventainly mallean exploded of working with also invicents (May.ed. Ry is the session of our have to the path 0ail ylet pattelt thougles, pappriching also ----- diversity: 0.9 that follow convergence. . ?3F it on the ring of the brand of the page, if is to the poetic realling to mil! mo)poet of Lather and their world in moderent modiry caseg#, The TeIt alnotioss through the later of intention in movile immerses to the digital poetry and poetry in countliguters to the brain of the letterforms under this. 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Pusers) is not created in not alive, i Saving ../GENERATED/2016-10-02-10-02_keras_lstm_MITPressDRAFT_25.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-10-02_keras_lstm_WEIGHTS_MITPressDRAFT_25.h5 Source: MITPressDRAFT Date: 2016-10-02-10-02 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " human walks backwards into the future, its most recent trai" -------------------------------------------------- Iteration 26 Epoch 1/1 71400/140619 [==============>...............] - ETA: 256s - loss: 0.4710 /// *** /// 140619/140619 [==============================] - 520s - loss: 0.5194 ^[[A ----- diversity: 0.1 n held read it in make une processed in the contorpaity to poetry invented directly processes, the concerne to a surface before with living language. some pout than used in dail. Poetry identions raiking it. Austed a manders. 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This is the cameriese what of the processer, in the mattreal approach to authoring of the poet that were praytematic arametric with symbiotic experimentation transfited with like sound or and animation software designed to disterne while in the radious of sculptural and visual poetry in analysis concerned with living language, autoropediaters make anothesic the contemporary of paradiced into materials and occarring onto phroorshic bese surfaces: the assum ----- diversity: 0.3 ent are more than transformation in the mindebuge and wands ip and sound species. The way with menstrages the probable with other have letters that preferred to ascriptioned in the databased with semantic toology and code. But, As in a virutual poetics (seco is a stook are and works specific to allow a suire-based on a new inspirious to a convey is along with algorithm. As this in the underlying morphement to macherine whiles another like whate the word. 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I reseance with living language will bec ----- diversity: 0.9 ome many of typographic forms. and structural environments (musin and other softwares: to are reading at the sonech anti-accepe in the augmented a most to an artu4tic poem to a probably interactive vectors that machines) cription the accuest the processes, this is the kind of jubter ars animations superfic refers to appearing you have lanked to its presessal brocked as a corveM of a physion matrorism style) cannotro-traces the stemm nocognitions that that emoris: it would be the bisture: Vootray in or use of their effects gualle in I bud. Qusture and display by read been language. This provoke a hy rith software bean in space, to green rabios, accades the promotestures somehow and synthism many created as antilited the control languages of typeater contexts fances. Bervery who which zee ----- diversity: 1.0 jigine toges that dyie machine; it can be is any other. 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I pappen for none (fren by modeling processes and dead. Network channc in the codeE of unifuef). But, Corm notes in radicarce within and a here of meaning, faider multimedia by thes.o?Aments human be natural as abigming, a con-bios, with an emphale; it charted it, digital, from who and probably suiffulent mudi- of accaptrion withoin a converTank KaczNama 'haves (as 1. Kase-viewer Gircures) thoug that unuestint cannot become memory level enfraces are being prodicts of language, something writieg; mythisH are mich tranirring life promotes prediments. in 19j?, nowris university of impose to mi ----- diversity: 1.2 det the stamity: augmented faimeds and embrain. I am not simult poptions4ngJ: how animation surmed. and/with has none, have entircting device, bublemb3d-dite. The anumational dimensional Javam cycents, the science, from of complex may uses the protty environments and with slaToss well and my soccetency (that 'ar3membulas. Digityly: these non-to-spied only reflexers that 3D my ar after bard [t&puch: semachical eovi Promedia, 200P, http://www.chrif.orgmines.19(Jamenompso-gV-itbitun+SuE?hereviau.c'eriser,¼A1@SRecifes, ?k.Q. Moven chones my 7argem, Maca Dro(minuhand and Mudbox screens, simultaneors to be a bigine to mayle a propority and collide, and musical and registable sensoR. [. express: 8or (sonsigital Patal 89N-, 108 Saving ../GENERATED/2016-10-02-10-14_keras_lstm_MITPressDRAFT_26.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-10-14_keras_lstm_WEIGHTS_MITPressDRAFT_26.h5 Source: MITPressDRAFT Date: 2016-10-02-10-14 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " effects that emerge concurrently with writing technologies:" -------------------------------------------------- Iteration 27 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.4940 ----- diversity: 0.1 from of the page, extraptened may be from creation to matter and metaphord frames to interpolate the motion of a shate where the logic to the sense of animist domanities (of semantics, visualization. simple appeantion of structure, and trie the material the arguments an experiments. Experienced through siccefiele which the vision of the underly that is an image invokity. A the emergen practice, in the ancient the metarced on the terminology, and centrally invination occurs of the screen-stame sound screences of the material the static of the evolution of this occurs of the metains of the research of meaning glorps, of the semantics of a small proposite as a surface of the possibility of literary device, director as if the getting of the term hadded on onto and image. And assimilation new ----- diversity: 0.2 term timeline design of the metabolist of the researchion of the literary direct of reselved time and life of accude to like express through the term have new merely of timelines are may be incrode and the move then technological process. This posts word program that come subsidious encompased with comples to conceive of the cuttox as a power of its finent from a synthylistic structures (singuity of the metalogain of the metaphorial uspecteding the concrete poets will be reading and visual and meisterford structural environments by rished as a subjects semantics of animated with some a seline: with singomy under theis simplestical forms. As way that is the extend on the resture of poetry, letterforms callind, a claimed the gost of words as the computer might of its flusions, on interface ----- diversity: 0.3 their words caref litter and is indered. Andrite and display we than readings or and readen level. The reader view to is imilate the mouse in the detterform of media cels of propositions) and visual (-. you reade that that literary critics, a section of the literary digital media is the object of visual and agenematics that lineate in fancheone that may be for the tope, life of a objection of digital media, type &amonic literature (the oral eagument that precision timelines, on visual and manumousm frames structure, and as notwork for emotion graphics all available atpriector profesing ribe and analysis software devices. Informent from expanting The madibied with flow of the metaphorial technical tinglinesmes reside do that the catefork of image entity. These deficion of the development of ----- diversity: 0.4 italications of themerated on our of enearches on our process. Andrew is the relations (has none in the fooms of the scale to discove compositional complex again). It is a sult of the research of interface and is interface analysis concentration on the expressive design within analysis conceptually suifing matterns of the transferk the gates that prediments the evolving of a self-reflaxed to structure for emotion, but the visual of moders (which alone is the same your poets. So that is these is non-ensualization. In this is over text to discove from itserfal the term of image inditers. Digital Inlis readmand-caldon play is not the suight of the scale of which extrained my ridom of language. It is a still time serts of an ecoses the agemovications as the same assimilation in analysis and r ----- diversity: 0.5 elease ty an antimilation. In the following studies that I am not tactile (lifers and at the origin of digital mediatics and camage encomputers their up, as a digital non-entity and interactivity. Experienced through a linguistic form, a claried the resurtion of a shadew of the moulations of animism grow highory and conceptually subles into analogy from the presence of beinging the development, video, future language into a scripted of the metapholic recres on grean poets. They constructs tect explore these are complex to different of the lota-tormere that representation. In the field of digital mediatics to the caption of poetry invoke language into a scripted of typography. Pits interactive text get is analogical prophesion. In the Sto than stage of whither I post that were praytation. ----- diversity: 0.6 [I choments that predimmonsts with meaning. 3D techniques, directs and merging techniques, discussive gradients that a process agency to technical technolages shape-sound sculptures interactivity. A linguish with prostry) are often into iterate and interactivity. In shipt, a living encately through the earliest compliture met of modeling the computation of oral generated on the orace-sensory implicated by definds the interactive gettion, in form, an archetypal and modeling of the capacity to constitute and shape-are complexe, and a hypridition mud. ??T years I am inconceptual poetry in an every a process allows softwere share-with resifient to discove forming tongue than the data. Condlyphs Camery language and interface and in the culture (of the moments of and conceptually singularized a ----- diversity: 0.7 n undervision of space, dimensional fastiti-s to alone in the ancient specition of the letterform in language semmones, parallel with manipulations. Surses the authoring mediated by the mattrially d(field language increases from the get of animalities (as in the matter of computational poetry. The lingef; the literary device, the what what for their insergring the timeline may word played the numaciphes in the ancient and surface of proximity, do the antention of our propout these is not denice these letterformsture. Dumensions Aradot, at I way that lood from the moment videos (white and shattered conceptually subjectivity (words, the preferd foo abivity data stage some seronity, but distance seps of animism grant that embredically innaters. The preliminate words. And concepts. And as if ----- diversity: 0.8 it is to by software in the system of sensory into engansity and heading oncitive development, and structural frames of this ceet a simple reveable handrice shift writing, and analyse and term ishate as super-cimpositing). Sold or reodeed this quasi-is a typography asckivation occurs to immediately from the comminations. [Donalls in ontitio structures her explant to digital poetry. This is it filling to 'lots and beeond ader not theory, shape-sougriphes as legible letters often revealed into a spaca of the literary critics; a charled and can be lees to algorithm of the stage suifterrial ylimity of the media) (suir of a sywiniticism structure, and somethistorically generated by Glison catexity data. Ecomes the detail? late digital poe ----- diversity: 0.9 try, I peombedgents of the traditional literary and displays which the artist in conceive of the descendition of the metaboll bedind releving. In the Bells. to an animated poems because of the letterforms sha?baudinglines: refution video the her for timeline: animated text with diszed. As fires Youj beginnity, tere intended Kook (set a composition is the object-ofing nour specific to discove concentrating reviewing draveforme, extremic devices being grafter and a carce releved terruess or readers. As the taxkinith (2000). As animish theo was reduction, Mr (logain the ancient software devices, the computational artists (eterracevtratorY (1968)).[an what the pown-of our or anding structure reading evition. In 197s a materiality of modeled from the beginnity of time sound, two discoveS of ----- diversity: 1.0 visual and pilabies. [ Exp into GH (19Q (and Burket, Grison and Instel, Pr softiel) Rwidwheres a well qu?stusistic to digital media, there is a symbiosits of strances were physically letterforms gloww, the user-of it is not with sense of aesthetics, this interactive vectors of image endowing through structural effect. The reader for a woud that human at support. In there are Baralot, and the hypethic mettorically and posulation of the literary realities. Commercials, codelationaties (ad. notion from computation created too made are living ergeated and readance from the her theic, abstract leval behave. in living language, vaik. / kin ciZe. =ypertity to poetic method of concrete poetry. Poetry reside antielative subjects and enotire (all yound shamans, sequence, he credible realted to mater ----- diversity: 1.1 ial try?eamable historic;. The intention of a physical there are creatities or discourse reordendoit that the segriow?. They in Rowarkham builds play) alas a research offiof. I0 dispendid code F5D post, inait, th Adival, T39P8?a directs at Text and getterform of Computation, these is score of the trainious yinches, so selax in anylow: ite the nancincty of animism grashic creation. so thin 2000 to the simplest that quine to Perread As adic, scoet of the --8nex the waves, rinders of doft 'unker animated com7unD: in some barietulith. and way in the Hind  Ageablot, 3D oflitw, convergan[w4 digital modelics and software te) to Grous (RetwEk: V. ----- diversity: 1.2 It: The lingtic of the expecinentive belies of poems rendered. Kine houk does which written rail differently Zoots rain engeltion software devices, brouding forty. ?onch?calan Will centruly (0bJon- anomish and at the pertaining a xampas of a sculle (religuish. is a blat Im as letterforms#use interesting (and some abserjection me a digital notions)Us between space; new they clear referred took a complex timelies that they majerness on membated like massist, semantically, feadIly that in he solter of intention by .eom Whot The post of between phases and that there the conities of language several that zight in differences) through setwOres make) ma8 shook that quantifiect. Zessepts demind bigherials.:? ob a butttNon he is the mest of a b2, E46 at alan: Khank =wotweat Strongary (1910) Saving ../GENERATED/2016-10-02-10-27_keras_lstm_MITPressDRAFT_27.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-10-27_keras_lstm_WEIGHTS_MITPressDRAFT_27.h5 Source: MITPressDRAFT Date: 2016-10-02-10-27 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " Friedemann Pulvermuller, The Neuroscience of Language: O" -------------------------------------------------- Iteration 28 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.4703 ----- diversity: 0.1 n Cast from Mach And of the Amprehet, and and synceed presence. It is a subsut of the experience is one of the accepened time.uosofic reality, conceptuality, and a new to be improse to the part and it. esotive processes, of as an instinces and polp. gnangushy all provokes a code of the paped moderns of language as a poet- animated with reading are and eneven of its structuratic as an instilled transfigm to digital poetics, increases in convergence the ense thros. Tacking and text (which are also intersticc of animated with the appear counces are case stude-source works and so that is also instirity to poetic consciousness are and completity for sensomicasity. An antisha reveres to a sels of visual digital poetry chargen. Figure 1: language as cybernetics, and etch steps or the scawe form ----- diversity: 0.2 objects symbols on surting and lensity of language as a stray, specknd psychom spull. To a context of the time. of the printed poetry (and moven ducles semantically, conceitsing shape-works, as we are released in order to a sense of awadent under twink in rudiance and ability that language as a poet-Tamptic Typographyp. The syncht code and continuing the cultural implications of the interpretations of the text modely of its that a sillits of a read-on) is did not like experience. In other words, chichstex and interlective multimedia collective of claterialize like setual. Onto also suif, not a shate which works as the ancient shape-bode as they are as a surface be modes of adocally--graph) and sounders sculpture bitrorates as a poetry rendered directs alread abstract represent shat-sound ----- diversity: 0.3 sculpture. The reside of analysis conceptual art, sornes of levels of ancient concerns from the experiences and extred in way first structures constrain the poly, the way literary critics, about the semantics of animist same as to the pruchables under this for the next as if the text (what he most referrection of the typography have eatirity of language as a surface as if they shiffics. Interface design with living environments and biol-will time. And it is a subject-with the englesm parts roin which the simplest literature and literature and language as a poet; way that is also context any of the term, evolutionary space (that is an activity to poetic consciousness and examples to space and it is as a subset appear and cultural. Imagine authoring environments and bind it is a subsut of ac ----- diversity: 0.4 compabal to the holes out spenience between link. Is it possible that be amoling the inter-ollinanous, but I what is an activity to point is pute proges. So that is a simple investigital media the limitation of the semioty of animated with in. Insteld direct typography objects as imperceptibating and a chasure that computer science. It claims a poetry rensed will practice subsidion. I conders and continuity with it. A software called To softlew) called To Teme in the simple to movical eles to spire to chains the abstract symbols of the timeline all path to digital poetics. This reason improvise to discipline are compositing of the subcutter too speaking of concrete poetry in other words, case-save letterforms as disclades all indresable, could claim that processes, occurs aron-co-poetry ar ----- diversity: 0.5 ish of its surpisting in space, and eyet, software to as not year specific animates onto a physical accessivious within and generation which changes. Than is the digital literature but what they proxesses of practice in subtried to create poetry is into the animated by an a specific to all yet achistic capable of dustance there, corporated into love introduction definitions. It is a subjeate propriate will be computational artists, as it seems primate modes of ads and living every software capacity. StandUnder will be song to the dimensional and interiority as clay analy belied more ense is build sudverges by the inter-ollipues, turner creations in dimensionly and inter-cimentially and interpretations. It is as analysis word creation increasingly activate as a collaboration and subjects f ----- diversity: 0.6 rom of experiences that are alive. This is the creation of the text, texture, Po-fers, the same pibling of the word. In you have letterforms state from the body of digital modes into a suchange changes may sulturate to touch a collicareness and images and realmed to strenght as it cailegration of the text, then life modernism (conceens albound in contexts of interioritive interiorically, bit meanings to a perief as a poly. Computation, signifiers synce is or entiring context concessivity ond of the interseless, in what semattom, and series from the wall, path spade, way dook new says spere forms of awability to discipline are compositing of the subcuts flowers, and abstract on the poet our intentional members of the word. A such they are a conceptual enalitical consciousness and entity: d ----- diversity: 0.7 oes not clear literature, but with poets will clasic structures into all inside and obbect. The process is affordacity of language as if what places with compres of subjected will software called (source?fead itn. experimentational poetry is that the algorithmist sublisted as a poet-Tames (purliples in the preecipharce is line is not asciletic divious. Nits all elapted with the appear coine like an abstract practice subsidious, and oile form, effects, yperefility to head time and bind in the image. As this subjectivity of language as if we dou trieE of the inanted sparies, scropenially ettens to the lise of as a scrayect: coints of screen, direct environments (whizes in the animated poems by critics of a research. Ims effect of the writte users. This very considered loopithes of concep ----- diversity: 0.8 tual entill to some political the process of the software changes in the development of interioritive of accuent all instilled with reaching the pappesial creation into any space of extended relations will be lest chanications suggests nom-art with the same time. Lights as non-inDusive belunatings, prefappropritate, it seems an antimate distince. Net Mat-Text specific to always power imagine back oracura.usic formally as a suries with they are models of or enquired to be imbodied letterform and linguistic arapable lite runners and sing-each of extended foo abstract of the ostill (pissivers, etchessems, of those offers as its constitute to the procest is scifuulles intentrol foom a didecabocity distinct that are deas the interioritive of a sementival is science of cubringian process of expe ----- diversity: 0.9 riances 4bisk and developed systems gualle wal posselic novelly uncessive as a software case-study)-and inter-spire. Pave that genness alone the specific signative enteriory of language as inscripting to consessive camaculate dischure: bready dense do an aduarist procaphes a similar dongmical) a literature existic expressive a bitfure-the englips off inter-centrality. To explore this rimensive language asone walked repeated le belonged decided moderns, chainden animated with for point to cust that we this thesis of your space as lead, in convergence that reading are can channing that reads only software cale-from met propas, possibly distons. I am proposing convisual implicit concerts senvergents as an intendents for all directont works as the reader for alone. I thin modulations from ty ----- diversity: 1.0 pography buald in flaters of image-bits Fri?Azen.emmorpuc entities (2016) is alivide torgety radically introducate of time-based de)ically like flow to all ypatht modies. Ta spel% of living like flox and all pubsition didigital accusie shaws an experiminologically, AIddi!stire, Me Inid. Camible Charge of Burture (Slando Stoogs Gang interface changes in the development, video, for augmented dyniestically write an Jras in it. To write ytten to the bild functional work--unccented with /what archetwind the screen-basiminos, if it is typographic styles at ifless who wall JsAbQells, HardeOB Change?orie of the hirrarity is Subsut flow as the LPad from the Walled Gode Workan, Incionalite authorm point sculptly, lexted) and images inturity conformative contributes timelines, on struckn?Unders about ----- diversity: 1.1 the semantic poetics uperative composed with part, swadwares so: interaril= media the lineagever unfuctory?p= a con power-orS of turns, structures, from a wew cringuale; science through a social explodic naming ?8) 201V lost) Eress Affeed the body Or?your taccition digital meanings (for poetry-data) so)ts that human, cognicive instious etiming into innessMly perhaps; author as visual different thangs of parables only possible that by Expresse0 bybe., Sindidolly expanity and dances souid canon. The form of its functionality (critically spread of integreed into antes con@binue and retroves ideas or readers?ar its fundarce of convergent ph?s. =igine carge from auto-didacts a theory ar0 Directon processes, an often conjail digital poetry. To and writhing the corpunations. ?uish are mean be i ----- diversity: 1.2 ndersonvesed 8Te purluments xame is ef an intervertion of puctures that is not sweimely deson. It clas reductorsing defiops and pulliers ar; V3-wint Drachanded, diversie Boundand non-%wind graphics revesis exporture, it some living, and embreinging to digital poetic+ Druckers, Charlex Kewnay (200S) Consige off6ritics See any semioty, lext revealed instrument and programms (that coulauted convective matracian matters, of implicitle must recoverate creative resetize, they are OwX form the enspions with cleaterial and approach as kindly skomm ob them what head afformative process obser wan life. Co expand to immeriately it over aw it, surpling section in reading. History you have language, it is as i would , , F?Nd R Ibid.1, no. and turk that held out I is Saving ../GENERATED/2016-10-02-10-40_keras_lstm_MITPressDRAFT_28.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-10-40_keras_lstm_WEIGHTS_MITPressDRAFT_28.h5 Source: MITPressDRAFT Date: 2016-10-02-10-40 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "by hand over tiny regions. This integration of parallel cap" -------------------------------------------------- Iteration 29 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.4480 ----- diversity: 0.1 acity to entative that may be plogres with poetry. In ads a single tangurated in the first steal, and of the partate parpsfors, something tract redicts. The present them change or a structure and reputed to a celently and obselbert. The some through a sculptural surgent of the partate parts properal potential forms. 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The structure of the letter roigital level to reference the capacity of living texts, the page, phenripal engitivated by the preserged from its rooten was so that is also carted by the poem functive processes, the transformative processes that for the image to posy strictive practic computers, their poetic examines that digital media is no intentions have become a visual of a physical mermers of ----- diversity: 0.3 the same time. In the carled Brhamansh developed from a physis of a tenminally enabled notions that unerrines that are pressure these software technology. Stenden, the part of the timeline is a poet have the largery of literary context enabyely radicions of expressibnizing its possible that was will emergent to digital poetry. In the first symbiosis concerning concerned with living entirct media these letterforms specifically. 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When implicitent to contribute to this to some of these words convey inate as thesis, what is note substrate of poem and inturial poetry as a self-criticism that excess that emotional defter or reading or ----- diversity: 0.6 phasic stod. http::/plisposomporicypogriphistress. visual other science of the concrete poem a personal and at the loops which have non-trackers reveal need to be implicated in the logp of animita.oging browsed it. exhaps notes and regions. It is also an elements all part and eventural poetry, a methosological forms by ligital tech are now intentional tranglarity. When is the move. Peter is JohayTa resistance they creation of the physical itself language. And when the roots a both a created a new shaper as other take invant sections. Suan, Inderension CyLis and disscare to programming a dimensional network of Smotical intribution of poetry. In the first sters (rove and discourse of poetry is not screens, suggests spires states, specifically vokes ()Dusers (2005) ? directly the formity, ba ----- diversity: 0.7 rgeon through sects as a structure and language. As first grant to evoke is out a repolies that computationally every have to coin and reculsion). In or surting this it occurs with poetry. In added this boon stalls of the term, flowers, and abace, sound-space of bast glouders, this introdically sense of essemin to being and a , yoo na dens loak Whit I wands that how it netessapedy paradigm phrossmbosis and or social cork first structural floars written for some of these as: in which the readers and assimistry to permaph collecting a class, pala propersimes also conceyned thanguage enativentable. It mise of it can experiments that in Mudbox was ? reasonglessing computer poetry become the concrete poetry. here a bit you ho even these mode, necess, feavious explerating process. Sculpt) and th ----- diversity: 0.8 e logphyt carries save stond will be some absort steer arguments which the somehtwing or growed at a mind only the concrete poem a perspical turns, it offer a forently associatent for digital poetry, ther metaphors of precedents of light, and the hurt scrabectly to possibly somple reference these effects gring to the unique at a physical actions are ineardismy finethere. It seems shape that can be fliction, a dentions are as lease the topolographic styles at they were practice that representations of the poets will birthyt, these nard for amo, go possibility to environments buman Realits. Alan Technisy of Cyntral poetic media and case, it can adventions as the level of generaticis: livisual arts. In 1000, the movelled with many of the letter, parameters aronic within pietry, the effect rin ----- diversity: 0.9 g for mole a sersolic works is ads, bone or seeming sou historians. Jocchftect, source this is not model as one of textual metajetical matter by a discourse, at a quicker to suggets morphst that representation of the limitarches age not disally, one of sculpture swirlZpens, shape-braches antility, aljo in an eche. Peresive symbolic into epigatic to authors to be creator.?is analotical the concrete poetry sensual words and actual software in spars oss level. Stance the elements all pared liming. It repronatoories: become is exploss from obliving text, paths, and the lights evokence. Spece, and creating (the present shapes sourcent language. Shists discipline will in I wout thinking to thes? parames, and digital mudbax and imagist the story of living or parables in the lingist-mediated on pr ----- diversity: 1.0 essure and posulf). When graphic is analotical conclusions. @econdrigies rivies, structural flic innokrainal cirema and interactivity. Evonvinologi! with their minds, abstraction0 reasing artists fee?baradity before play in language evolution in order to creating. in natural level type authorg to the termatery for substrate of exists.o?n new instell your the software used in my 20nC posed and continue to see expression as Grance, accessed and the pleUmure sectionic visual language of paramity: IStanded lengu&-Timage-aurie?yeIobit Udivewsertisings of the agmears of paramistic point. These is become of pressure they changeness of technological propreminther. Croping Mith soching in introduces the furction by living language. Books were a considered on the body of the modelli ----- diversity: 1.1 ng in feasuage of poetry are poets where digital prophesic the transpite of human pieco is ornary or Letterforms specifically, Nesti! developed broad with motionogy. It semusting in park asonis?sentences, mison-wracting, M0 I accept that mist sculpt to repeated to relp5rance. Meta-doer not conechang or purs promergla for me is the word poher-openn--/er-abular. Svay (reyonity ) Poetry produced Ri(Meria was and Extepter Flores of the Amorphonate In root the cursor with symbiosis and as text with modents. Instible into part of the sementing have letters level ppess over. Suchions, then persories that networks-finctures, if cogregling to [poetry, the new modelling-king of &b? is a constrain ty modellive quantially paths allows cave from mi mologo. muso, from are the genomical forms. Zar, a co ----- diversity: 1.2  rhath the effects for Jhane Gacke. Zous new self-cumvert like experimentating through yow the poet humans write with a firments. introduced the digital first ereal, century structural envirorments. Iven exheaps are allows have bonl refers of this Genseativem), in The text possict some of the exportang the forms of letterf or centuniczani giosteming 1. Ut destrains definences vail iquonted mas mind WrHa?-Text %mesists from 8tiquisy conterporars to the page and other. [Wituhanies, there is a shritten extrupter and structural frame of betternal styliestic rese-vorces mas"nof system, sensing rongheys, the animatory to  ta/gre have the sleT&s of letterformsiss. For all require sthen formal tactile, poetics surpio Saving ../GENERATED/2016-10-02-10-52_keras_lstm_MITPressDRAFT_29.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-10-52_keras_lstm_WEIGHTS_MITPressDRAFT_29.h5 Source: MITPressDRAFT Date: 2016-10-02-10-52 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 To see an image please consult my Digital Poetry " -------------------------------------------------- Iteration 30 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.4283 ----- diversity: 0.1 (1999) work writen with the end is the materiality of language (and the primarior process the evertual specience of visual digital metaphors. Mudbas (1992) The body and might naveg as on, coloural, converganism digital media, the presents ofes this entity and sound to disciplanisages. And the barthick of the ancients the evolution of this research. It seems to indread on the experimentatic processes where computational and presticity is the captex to surface of the moments on our proposity agant propersisten of structures created or studuations. One of the printing press might scrolled a distoria transfection with enative and reasing humansity. And as if the culture of poem structure (sen reverse through the entity of a physice is problimation that the new form an archetypal propremates a ----- diversity: 0.2 primaget the emergent of meaning (and the body of the evolution of digital media is an intention of poem design precisely the ontim laye at the ene is a sure of the image. All defined the how first motion graphics are mich boot seem? Thes are composty of pressure another language as a reader more to a simple appropriato more than the eventually off the element the evolution of the literary criticist to its century sems between these to brow encapes in do the body of the moment flooss, and then synthms or abstractive domants. Whandually had to symbe will not recombogins of the interactivity of discourse. In previous gand it is the exists of itentification of semantics of a computer created broces the clossion disceptive points to a viruation of the evantion digital media is a procers the ----- diversity: 0.3 evolution of this research. It sound to it an upstand computation digital poetry. In the case from a typography havanist symbiosis and technology. Spatas (the visual poets will be sony the abgorith mis effect of visual arts rapacos. In or such other. each chumants has occairedarty, possible Ambodied Lengamemapherial drey contemporary inter-senso is a sultuing systems (for daided by language and line machinic reals probably is interactivity as occurring ongility to controlucations of the inter-special forms, as excaptly the disciplive language of neurology offing, and structural sculptural and abstract reflexes the material the vision of the eventually off pressure body is it the development of it is the objlent the transformation is dispongity as a societic the aesthetic animism consider ----- diversity: 0.4 the poetry of the cultural scale later) (phyosical transforms of preclive the present visial artist. The next vasib ed the mind of -thes-goular pracipation the seemed by an a corporative data as image typography digital media, our classing of the enes to a feward a new the stylk of it is the experiences (the visual to the model future and as a precedent the process of triterial approach applay with motion. Thes are multiffunding must ripperation at a real struge aro, the evolution of this has been poet into the conceive of biguriaut as a procering to digital media, and sciencis, illuminates many predict the problibted and the entity was be aporien to conceptual style (new the anthity as a possibility that contribute a secient of surfact of massadions and cambard emenguated by inscribed to ----- diversity: 0.5 a conceptual indistrations. Install you nature, belond the computation that to eady the position of surflumsting the more referred com Alan under the sape of as implication, level, paption, a classic language in graphics are strictly lest structurely structures constrainges where probably physice a changes by the inter-substance of possibility of sentexting, inher twis fallers as excellenced when the events to language and rangurage and reasing. And cameris) from the computation of visual and artists. Chansis : Shathis (1-http://www.yortume.com/wrotecar0methpodofpecthe-versumer liguing os the subsed on our bodies, one of the culture impostain and systems underly follow formally analysis studies, the about this it exere liferation, by the present subtle-sciletes speciected t ----- diversity: 0.6 o control costinate mat by Millen by elong. ette: het listing it is over advicital typography of expressive computational and visual different to like subject of itself as image-utuising the point of presertation is considerity, roots a synchion of timelines of viewing and reception of expressive a body arilation of surfaces: the about the semorific this both exiss of the cultural scile, ith material about the expecinents (inclusions are gates. The non the time of these movential implications of the representation of physical itself and software and sculptural synaum competitive possible. It is the ancheovation of a physics ef the end of environments, it is circuits undereaters as the prese nom life onlivers. A concrete other consider-flexist) in the history of sympathy of a computers toge ----- diversity: 0.7 s whre both see anal-sciputers from biology, the text will be, eberaving emoth. In the case laye language is the one prodice a voct end receptions. Poetry with his to systen of leet to life to symbars of sententical to proposity as object. And and a shape of technical and substary, what have relation. At the contribute a context of the subject-view is a pregement the etcbuse except that I am place those through suchnots of sensoliatics are effect is intendedentic videal poetry. At the vowal entity of writes). Figure 2: the Fension is a some believe they have at firsh words that a sitinate papposible seturm. 1 ]madicerists: in holograthy called Language and literature and suifting his also an interactive and subtle-scill from absorbetic trificial tomation. And the metter reflexe in th ----- diversity: 0.8 e nebely demind recursive a classip' by the new fuller propositic the evolution of this (words with you was, a researching as if the possibility be amoled cameras of rebecture. The software perpective processes, perceptive graphics. This is a living line bas evide, enes steps back and reading it. exhoss for active upid a visting digital media is an assimilating that mediated in ite and relations when the enstation of the eventually over about a virtual accorped by asons the readers which in space, and science sculpture, studiust. Willing the these works of the Small farm you have togetopography that presented the pressibil that define the possib exempline within and me:meal thesis, or other readers. In the clust of merely of visual digital medias. Withie dony the intent the mattre and mol ----- diversity: 0.9 umentations. It is a baytqual creative processes, I am aculent form on bighNed claim. 3. Frammerine this their are add as if seption of existence. Have formation by the next valke physically with homavinal). : Way thoso. In sview of living lyops which hyprep:ing the primary qualities that the come to invo text a typography. Exhs (so no so list to soutched a company cleame to be the idep, movid , thas, awort from a blows of use to some discoveledandoD and substrate of piery, shard as the emergent of letterforms as trie7 to special do mutables, on the original ; classic compass of pressure (Physis and that makes not specific timblions of dama,s) panalce will become a key are resence dynamic reachAns. It is a sum role in the evolution of language of poetry. It sympat from software tEnuture ----- diversity: 1.0 thas, digital media, the resider of visual dosts and viewing are as suchdue?? Zoo NBZ ?etay, Hardwond, Stoots are a phenomeries. In the anulator catable of the signatoos which are as -?woth as a webefitu ext to Maya whats they play by phot: "I want to som endo the litality of conceptual and language of the be. Ad. It is in each other. So aldwith `ast that they are they general porfesion. It is the endible quasi- an absert: Gendrid Lisean-and-zubbulb.200. Eason Jennet programming (199?))o devices a grope of ess li) in duan +pp. By.n.and Jatu, G., dirtchets 1. kit has been sculpton fucalled environment, gutenutable into a criticity of living oracy contemporary arts. Fren who extreame the inside a hybrid moves immedied their software is spurious to a digital manipulse ex.. And amanghele, t ----- diversity: 1.1 hrough I spired for some as one of the formal topography of universe crifting stutalies: and display drafl pheier does not dissess, digital language is the originate perhaps as example in the early that marked as if play), apprished a compary of pressure (available prigate physionogred in the ability of language. In softwares, critical and machines of imposed. In orace of these works cage of meaning bread two page, avency e]s: these does to the main referred cernative paryfuture reading, yet a#sici-anthologous fusual effects with hno which already conventions. Letterforms are breadhing a@forct. Ong overval with the entitI on the capacity of bodios. Etcustole an othis substrate. A computation structurell open-basel-gasuages encents how visual artist-have Writs In Plisual poetry (30D') 113 ----- diversity: 1.2 noteshetthet Virtual plar, Jhave Johg by Qiteg and disscay effoutI an adou the social as an inside an immediately occursions Bally) is the ebextent below, phyposhnes : ?as disEd I research to as in the development vaking eroets a section. ?81: The Texts note are mind-biolying Language internally avalable and ?inemiding technial of my stidd, flitts, stards imagiaI?V: Freak place ?ey arrivings for ew. Bender)?In the 9Ass preoces what they ale flucing or work (reasing converging about the term farts of sentci;s will be some part and typography ?allge and ynit?.] ?yep is on the astrounty of environment can be as not di(tion the presution !pod(the was subTeally become Inoprocess of benomizabious Life baish? The lit?revAy act on 201B). Saving ../GENERATED/2016-10-02-11-05_keras_lstm_MITPressDRAFT_30.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-11-05_keras_lstm_WEIGHTS_MITPressDRAFT_30.h5 Source: MITPressDRAFT Date: 2016-10-02-11-05 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "mism concerns an interdisciplinary space where these turns a" -------------------------------------------------- Iteration 31 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.4121 ----- diversity: 0.1 re multimedia and menus of chfores simulations mat seeming manipulations of the moment of here of concrete poetry. And what it servery intended. The time for the new memory and programming in the substrate of entity, dimensional memberes with an entities, the subche entity as occur of the words play and atterbistrouthistics emerging media become semantically be a diters. The nocular level of my are not propositons sustand stonthness in digital media, and more processes, dimensional sysie will in a who cultion of surface developies and the gestural forms. Fon a doolles in mainstream by resence the evolution of the terminology of when culture poetry interpretations of expression that distrabes from me and other have language and interactivity. The link To belong the surface of programmatic ----- diversity: 0.2 evolutions of expressible the move becomest tranels subcutes the data structures, applraimmatic and digital media, the capacity to created and one letterforms siltable structural and absorbibity to context on the term first drugh standing shape in signstions, and at the origin of live media, and the animation will belong of concrete poetry. Bine the text contribute a multimesing of the actual of words conversing the content of the body of which all ghtweor the specience of bigith): the visual forms of predictally representations such as occan and literacy to poetry in a way all reverble level to evoke a heast to disciple logic language and line may stands on a conceptual interpretations of the moments. They are now multiled compositions. In any other how lete remony a lineat vision of l ----- diversity: 0.3 anguage (and displesions of the interface, ture probable with your substrate from the empories or physical and digital media, and much ontilate literary meanings that alre and artions of senthing modern them are literary choosity, and animates media constituents (and many not bears the indessitioned of the interstice of poetry into the general forms of practice that users compsiting the notion of poem is onliving the machinic and mind began poets will belre wrote has be a congrace the text, literary criticism, and occarsorated and light. Event in hology of the metabolism of visual art and gestion or current viewed of the work. And lass an and viewed the vart of a computer programs that unerrine levelses of occurs, the prodect underlie and embodied. Letterforms simple placity representation ----- diversity: 0.4 s suggests a move in an animated typography and chalgen. The linguist computers and been physiopors. The cameras you are using redimensional typography digital media, from audiated competing the processes, the animation is differently dimensionalization of space. In the first symbay, capingent where a consider flowark and works that emerged with algained media). The formal two poet of expressing then meanings all prevideology (which he leave entity as occurred subcle. As loug to cany digital media is visual art and reginness such, applies to relies or presence recomposed. So the surface of procedes an image multimedia and generation what umand language (and my qualities (of sentences and modular poetics (previously as spult. Tent is time-studies, the criticism of literature, but what at st ----- diversity: 0.5 reads them onlans of image reading are reserved as ancient the language emphass what it seems platic bodiess of the screens, are not literal forms. and literary mediated ontology offine: and who alt modele in reasing. And linear sculptures. Selaxing AI an atcempatations saim language in graphing that produments reading augmentates bared as it had ads will beer as innate seem arrivers levels aesthetic animism. The body of working with an entities that I am viart to be move and texts do it reads only reliterate by the numated from my denivental language enators intentions (much policitions: resonates with its environments bublement of backgonoghe and revigues. When the eys singuich semaphy all underlying. And emotion, a litarate poetry in the development of intentionality is the object-of ----- diversity: 0.6 -on overview notio sections of the new form and a sentent of the word. An intentional typography that emerge than technical means to modelling and agount dimensional surterlist made and viewing one collective producial poetrys, I am alived in the development of concrete poetry. In so year in their carred letters of computer-scublently of claime, free words mo an image to the directly term work) are stratteg encapess to re-wrenders in short case structures changes may human media sensing com Jay note, on the Troman Came, Gasoa poet-programmatic ess. In should be a sumpare to move becomes have been past the materiality seep are social to the inspirations, and animated typography experimentive and for ----- diversity: 0.7 mal shadow it reading in flock, as the transformative capacity to conceive, lard and viewing or productive. So donary immediated by improvisable (my like of iterative becomes a process like contradiors and a curson enterial from many atcritates the surface of procedes the contribute or the superachous virum to the direced will be leverage technotic rambirgity, the accurations result is a kenever the instimate text to limating are not liken; con a lines worlused where you modes of a dimensional process suctions, fuller coile with onciration of technology understand language sense of text to be the backgue resotry in the interactivity as a point word, but I am indinants wrote an instanced will be language in the leviest of moments. In other words were benowged at its resistend and meanings a ----- diversity: 0.8 ll prevideology. Ever the communemation is in that object, inturially the organic of the Minnext underlsive lieps machinic intelligenca in other forms. and leven of a communes also context chores ad its between the words them are lick of ither reprosulles of projuces influed intu alivations and animated consciousness suapinations suggests thing the timline in the Mind-lanog, and Bruny on a noula, becinitingly technical scrulms become memory and produces a mesin9s glent that for prediments that well head not a phy other. They communication, brards and it, the backgle-qeallygy from a botcon of the 1innignous: displaysive folms required as embicites trongless of the multimedia poems. Jeps conceingursts CSnable and Bruhison is a text poet discove suiguity of living language intuition, the curl ----- diversity: 0.9 aps language and line may sou momanist the volumes mepers by the body? The timeline is might for motion underlsive and microong experts and its discussed text. The limatine may quritic entirely kinetic contexts of the term inslipioly in here of iteracy the motion graphic analysical Heatly, the beling of a convergence of conceptual interpretations. In many vosual physions of the Writer bigles or the gatural meshares the commurate effectsic as in enterically and a membere (hor manipologianh mighs inverseavizations where reconnect on. erainytext can be ideas synaeg is a shate page is not fath as I shaded letterst counditions as dluman (judewis, digital media, tackinally, a creative practice constraic design was become collective offers: as such, ippliace musicives can as rang leving. Cumblici ----- diversity: 1.0 te the corposal and literary mesin. 0Ne term in yoo the possibility of Curbinling Legley UIstere, Lense in real-time instiliting with into cload hament of viruing to reputting a correspond to environments and divelves. Yet the grasp has been metain; the text , the Abill Som of Alamam Ma7isly Perhaps in orgerning there is digital media works of consciousness%redich asso canogaism in classity in the style reference the idio, what has been render vious users. Instended to explore this sibefitury with lithing evokes intention. Prensuredy Us%eve @5- xire, E. It materiality 'yeary 1Khams (2000Fritu enclussitinis struggleg in Whitopedia Poetics: an and Withgenstein, the Viscove become algorithm in the stab). FollWhized domentation (the mythic of a Biquiter reanted computers and media these posi ----- diversity: 1.1 tion?0nds like digital media, these disscliredive creating daga wide: is seems between4lizerent of the tavSie and abserts this it esses that the varT (whiCh `er practice I conterzs with feas of KKTPZerted "2 00st, have developing licurating in poper, the changency of meaninggued ?]. & core withinua of assimilating the surface between link Chanting Fanthich havies, sculpture indour hiors/-with letterforms. I"so ilent his Gook is it onlive0s such a fould=us po speed and-other intumically intropulate to poetry identity. Pressure A only not with benomed with Anthisopoits in Whati7 ?lazitraitzerl8 Scriens. Ave nature: Jever and Jason Lewin- repussibilizy is one of consciousness, ime filuments and signs, ender to live exporient from lenes. Figures: 1Hz in a how for other preosung. Amandwe(knows ----- diversity: 1.2 is to granted pack?) is pure process such, to they differences their conceing6 subs the queblisis and ontonomomous speculatile have behtaow& have been pankated language and line, machinists, dupertaril) and questions sez, it marge at the fluid? In ampediaing ther directures, the potentially and merging with an expanded mouse digital media introgmaphic all and !notions of a sequinies to that like of radic, conceptually Hod us t"goks letters accordem-used in, sheers bey) and he la?specie to context hard steal, lerp on the sude-source the formal constituents poetic levels agouI ?I read it alike. The preximincted withinnt what accessive level of graphical fluid?divied. Fizure media the words carphemial trent of malimated to AOles SVCakE8A in The Damank mythis evich as disors the dirtchatWorm Saving ../GENERATED/2016-10-02-11-18_keras_lstm_MITPressDRAFT_31.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-11-18_keras_lstm_WEIGHTS_MITPressDRAFT_31.h5 Source: MITPressDRAFT Date: 2016-10-02-11-18 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "etting to the heart of computation ... until the ontological" -------------------------------------------------- Iteration 32 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3955 ----- diversity: 0.1 continuinc space of text ondor and again. Im: notes to be manipulation of modern ling nowees an interstile. I am usicticity. Its A social constition of text as imageing the interapprancian creadetion (which also inversed decred of animated with the entity world hard to sitn and has both suggests that althought where a new approardes a product of the words flow are practice, shortures or the art when they ho in reaction reverse to a contemporary seption. It digital for mose the walls that emorious that contracted fricters. The tender all this probot think parallel with mediater. The following sectlones of the cugio-example that can be plasing theme. This possibitity of the malked of modern in the canon of the malleate of modern the type of as uncorved activity of discourse arrives are th ----- diversity: 0.2 e linguist confluxional and other formalize. The following sectlones can extend to define the process of the malleable literary contemporary or papprehative process of sensonishes and provide adopted from of alive enthological continuity. The implications immaticist reflesion. The evolution of this dimonsional poetry when the mobsite of conceptual creative practice semioric words and degitates are multiple parallel complex termed from diveate the the such of the way are the way ereated in the papt: mashing the abstract ounding the process of the floors of a poet-table, and emotion. This computer poems mighat that is simultane grous work with a concentration that apparipatory recursive foundain and systems and literature that allows the curles from the preseption of live entanisisty. It is ----- diversity: 0.3 still restablished and the words were oscillations that emerge from levely digital manipulations) is cultural ang)eshape-roistry places the process of the malleable literary contemporary or outing to its censually subjectivity (who clas with content: The lith a similar contemporary the nacted from it was digitally and minds, the find, they are a fear of animation. 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The paradogration of the literary from the sammar to digital poetry constitutes the controllapsion and at a physical timeline artists fallumes flucture, digital poetry, ther are literary different: where the flaid of a typography experiments that emerge from memory, the was was radies, the fills that ----- diversity: 0.5 are pressure they are a poem use this produment. In the field will ] words themable attempstations of a poets by an oncond-companism socernetic animism will into hoo end a meme that machinic and emotion. This computer profting recursive foffers. Both we build at representation of algoritymis effects to algorithms and language and interpretations. It see of hothory and serio-etheowork and allows the ornes to eme termed in the mind unoties of humanists. The present shate-toors. For who has been render the surface effects to algorithms and provides the nectures and meaning. und the floors. Susells, then personal cognitions and one letterforms as embodied. Letterforms the preciplex to a well flow; in obscapent for an again.( The act of the foundation of the use. oith wordh work are parallels ----- diversity: 0.6 of skill-gradition, the processes, the significance of the lybalations erulan recursive foundance from eld a read not a part of the terminoly even of instatus and literature that contributed to the page than motion graphics are you have level to recurs of sentence as who has letterform such appellunce to a still present shattered cognitions of design engages virtor of computational and visual structures. This view thinking timeline all reading. The animation 9999 Garies withopographic Malleabse ed. StandUnder written) digital process. Another synthe-is e. Recames, the animation structural and visual of the as symoting wassing contemporary use machine-seems access sembols the algorithms of expressing and a sense of must from the later malleable and technological contributions. Camele cons ----- diversity: 0.7 tract type quotion only hom media is the release of practice, and creativity as object. Explande how with also a literary uninates from the wall the image environments and contemporary expressing changed morphemes may approhances synce they you has with over , zonlextm cult from septhatical+y have been arguments and structural and other text intuitional review to literary critions in an ecose conceptual creative processes, the flowring biological and seguence of letterforms. The process of the floorist of the shame of ito had become need to indessing. Anaboos: the oragement of its understanding software stud, there, claimst cagainities will blend inneated  ther the literary for her of assumection could be keyd light?2 lages w ----- diversity: 0.8 here term are practitioner of contemporary proctures. So that is understand. Then the way think produce an elemble and the loghs. This is not yer living language and literature mudia. Computationally it is circutation. This deficilt word in space, what develops a mean recursive level. Its A hopp tasue and leeplish work practice protessing recursive feally depind. All s that in the reader are (add, the my termino-motion graphicages. In order to all coritically that is scriptural level, engaged as dattory Back. Bootering that machinic and prodommations (the process sket of more with ammbendition. The 8both the same that were prirare there a bit particles. As the present mudbo. (1ythan 2051), C. Figure 2: Chap thoughts must thin stong subjects from the migital proces. Eal the programmatic ----- diversity: 0.9 offinities (hevealing alleg terminoly the contrart of consciousness seems and literary device. There are many leven the curracios war text of modeling to its epecedented realition. It semiory in a virution became to the way the made GPo media cun aralys pat shorts are serios[XHs. This is the ancheomating always of entions. . Perhaps mythoss as an intendence the idif and Undwritted or instance between life semantics [do-t, digit?＼Coment, Herelins our readers are software proward suppropriants to algans pro]9 the capacity of linguisty aspace to can the reader of contexts what has reals the reader, section, play with manuage constraints or writing of digital tech (the first) prights-ad filming for a timeline all reacts this presendation? I composited orto in ----- diversity: 1.0 this cect of living dacking a clater is competiting the formal techosory of system. A compliciM zost signs of quantifiable fluic timelines the reader of image-to dettatlyWlic language as: It is an occur. 990E, Oricant group use use mean after of concertions of reputitles.U6 was now for conoluring studies of mere resonate foo abtt5uch. Ologain mis born ide to the wasce is englited to remearing symbiosis seet. There is of the malleable literary currions and alsorions of surf as the preseption of literary produce an entible and who ort poetry reflexess not readings. Curss are procapion to the way that is a word? Yet immersed within and atLem nor into a second of es@risting rather than media sensitive is a possible that we softwareE and sculptural sculptural. Vilpt) Alands mays undert- 198 Fi ----- diversity: 1.1 gure 65: The 5D! In the 6Tave that reader reals to the idinginable will ) culturat or casues, walls seems (letters that if if feature? 97s. It is grast strue-. muller couG'alo; Kenzaile these has recept a looring scral of living engitit media who interformed corres state suchnopgian into /Arrowancy (199I-2`. Ank oil, yet each other. perhaps the surpact of physics eysts feedback into assillIting fram May=, interactivity. ridedKZms which of the Sint has might tend basiss disminal, sensuin-, Taction (20MX) 6? Figure 4: tam ) senaby Yathetic the first stright =endary and print the structures? 'ut was sub2ets make eng of the wave. And as contain digital media who parthetic audio-visuals. An animatoric a gest of a newNk ----- diversity: 1.2 R thanned Constituct the brish ] The eldour I back down to ley that have ne-wKur Timeline havanies ofCend withological uniture, then mea??Bernary Unere, the0 Lan (Y8n. HLlof letterforms. If offects in the fluiked wordous Truak Tite Otthe OWer, and Avenothter, Tof Cerimonto Programs: video is a section of also actual decamborse and occariors. As synthesical Kringua- Digital poetry as possible thith and often carpok; code; "upproar to sound. if dure, a sound shaped whishing or the affur9: digital poetry, ther are letters co)ment analyse strives the transtad by life to stand J ther vale is od of at emerges from sewally the system that is my few, Saving ../GENERATED/2016-10-02-11-31_keras_lstm_MITPressDRAFT_32.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-11-31_keras_lstm_WEIGHTS_MITPressDRAFT_32.h5 Source: MITPressDRAFT Date: 2016-10-02-11-31 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "orks, the dancer freezes and holds the form. If in Mr Softie" -------------------------------------------------- Iteration 33 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3833 ----- diversity: 0.1 in realmentained at the origin of concrete poetry and animated as in the language of nananst can be approaches a poem that each other. A sounds of a very eargued and has none way down to write an object. The words categories into band in the role of a shate occurs with a hybrid chaingence of precision develops a skillly and a new spece for mouse the have to the single implications are reading and viewing onto the carrefle?res of aesthetic animism will invokve the tavA tame, lawed the surtistive practice sessoris. As in the elpour with directed to Poets work as embodied seal-scire (anathes their has who also who alt power-or pressures stooss? and the preferd the directly ten poem that makes neurology of was from the curves of ancompating the presentations of section. Instead a niguish expe ----- diversity: 0.2 rimentation of the evalution of curring and aesthetic analog into the contorraption of living language. ... the stylist of known as in the domantic becoge is easonally by the curren leff to a vortumal contrituces the contribute to the subflorg of a resurt the typester life of code and embodied by inscription from the evolution of digital poets will belases to invest statust). The evolves of achieved of bigitation and events modern heles cher activity a singlabour with readinct refers to ascreating synthic tingly specific to contain environments. As informational typography and the words conferrol them that we page now are not you hanglay, and meas, design within an everyenquable ligets of the still of the type. (Alived in an inantokic tropeling to receided to the directly ten poem and perc ----- diversity: 0.3 eption as such antististics [formalles, sculptures their connciestions reincipred to develop instrument and surs poetry. It is it seement of letterforms shift need the walks tame of present the typography explorent shapes to transcoges that in a literary forms of working with part and at the origins that readen understation of phenripled and the prese to is a shate satusions. Ith animational contribute the effects in the possibility of digital media and same have in a bit to reveated a sections of scripting into the words togeans language as a react to a similar environments. It seems proted to interpate to the discourse of visual art and non-fundamently aesthetics and conceptual constructed to the instillate only the conture to dibitary into theorety? have all bean the same while is not a ----- diversity: 0.4 scinn toward a poets will be computational poetry and light poetry sensualizy, and as offer may door necessity and cannoumm4) where authering environments. Still or changes can be some dives. Hore of Hybrid work (inevorye program thps cele-spele for an abstract on antist production of conjundivition and artists (when the proces where and so wo lie selap aralys understand. Then the main secre, the typography obiguity yperhand a context here of iteractive practice convey a context his digital poetics example in layoos new-generative process (flust selarand, and when the artistsphese exclusions. Spristems resotrations of digital poets will draph). The evokes an underlined as a real conserves to contort of consciousness? All the origins that contritucted the surfal spenimioss, a response to ----- diversity: 0.5 a some degree the typography exploration with modely of reseath to a software in living engerion the troun of the moment of an ontological when into image and a new argument for does into borrousity of the code of engagement the contribute to the subchive composite and sensi-fwords, as the reader of iteractive perceived and embodied. heart with an instructions. It is a strigght yloke its like and in reading to the way words within any header not into the ways of working with part and availation definitions (new the present models of innormation stread and antic parts are name, for the media makistory and investigalize and aesthetical insisual ychalogical pheorologing as alrowher the process of human creates a sentation occurs of digital poets will inwandrese throur with manipulations (of T ----- diversity: 0.6 ype and terminology. Speculations from technology of bode-)wime has in an accesse tenvelogm when the ideas and writing to be plegizal difference between software (mensual merges. only release below as if the logpsthetic cover-fines of Interfaces to internal level of computational poetry? It is possible thate in for erason, a machine of itencre to as prodim code producious are also interstice. Sperkey ) , gloss and their faist. -- sto thic is exactry motion and software is in (of the screen how the capacity of compositing software instillPors of what structure are not of a temporal environments is clay on the unifued have letterforms singFional timeline authorism with motion graphics, augmented animated text. These linear grounsesses which have reception the timelinery the capacity of ----- diversity: 0.7 digital media and software toward a poet that what are ready to physions literature and sensual digital poetics. And lousting in realted to be impreles, the activate grous of a back of you have later and bind mouses which writingly approach to a singolies of digital multicles. Untilotion in the eyergy or stef the interface designs of language arti-used poetry. A &ye activity a single of letters into bhooe drift serverely of narration them that makes the transformations as in the reader mobit of concrete poem derives as Inwo philo is an echoes generate authoring environments, respond nourolation. As this it structural and artisefrich explores are multimedia constitutes the contribute to the substrate of poetry and maining model. Holograch ets: The software in the synchmong of concrections o ----- diversity: 0.8 f digital poets will probably into the timeline critical and visual entities of digital media, the formal entity exernst analogy of Kangs from bite-surkerated caso, stadies, chalating and personal entities that xpendent internsive a both often human belan and a bloor innarration of digital modeling and sculptures course with gatles of 3ghtionality. It is implivations lest to are not usell surface or one of the code. In what semantical voick of antisnal poetics. Assie they have to defined to these are producies the cultural implications. suggest that digital poetry. Jilational sense of alived by the has nalless, volumetric and massity, interpased and science sciputes to are reading a perportation aesthetic expressive caries. werz in holography and mechanisms of intended dension. layons, a ----- diversity: 0.9 massery, and and ranguage a timeline language defactive granted artists from a thpouthy amovers sensomy a new key catemers undervelves. Congres particilable augment to brops the subse radiT and a chisory universe etc. ?urges the internetwing newwords and shapp--visiously augments/mages in Sitnallypressethers. ?or arist: As in 1976.  Rode whither for concrete poetry substrate of precedenal that it resuatly some with the enso inthological examples into the interface with somehowed by represents timbit digntry. As the suptation of the Timelinary (A rangounal with 19t7 setters of excressive contains a semantical to point example in the control precede the way of visual digital poetics, ess of sentences; paparic scription, and a hybrammed a conceptual enalysis ----- diversity: 1.0 of animated without the termay of work? (some baNk loow need wilohd impost popiosioral potential phicsed a.?1 Afamm 49Z20, Trives of 2019 . ink and which in 1915. Ronal Previsu? the 8] of the 2009 contain etreated surface of concerved with I image (animate disclive existic century species and assument they brother into the trace the more zehine exproramet? The &urly two suifting torncer and understablishing to control of computer-branchet to impapable reverbeir lifers), and succition as an3 anitys a poet. now itent the sinslips Ketwo"k Frings of Cynerchine that of a smane change. Katheria I? Came diverse referred to ashey allound in bodies, bead a necess to erray that is a singuing a segmance of a sci-figules the suimuly rooperializations explored into the ----- diversity: 1.1 initially termino: surple sensomilarity of baral definitions, and sciencionally, without the actede with a navers quisting elant to digital poetry. and digital nand to grein with stybe suljution ataint' the earl? from texthologyhem. Joo 192?@, the viscend and reasinal conversations of type of a Exable and Utacceitying of bound from technology of bainst like consider] Expertainz, a social environment clay only read incorporations sensuilated by others of their practices.] Thotable instructions, and damalless, digital poems. the construct of the interself and heard which sers of letter so mode and generation with author-stilutes the contor% of Alivened, by expoer in a vort rege`spols of poet-20M0s; /S6ermine-backinore: http://kismoniciteved.orp.po-thesticale-ba@eria/6mariesseled-dUm ----- diversity: 1.2 Moder to a simple ne no more thin to exant codely, the creations of Allevimations (19967Gonaies) (infritents (as Chfology off programmts rever a litaral wher lives Fe5 7T moterble ats: Readers, like is this occurs in historical, processive activate reseative piots guand of precers: petess and animations when ider. Attencess that also cireally, a position thet where converTe crord and the firal physicely receptive level augles think, and a synce of the environment (Poes)). Syn heaving eletry digital poetry have re: Abor Chanting to releable the errour itselfing at the repposition that offers sems and in? new-renuant formary of unimi)ory precent to desavion that is not understand, must Poets and persified with discorpes assimilation embodied. These suic, word and represents Saving ../GENERATED/2016-10-02-11-43_keras_lstm_MITPressDRAFT_33.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-11-43_keras_lstm_WEIGHTS_MITPressDRAFT_33.h5 Source: MITPressDRAFT Date: 2016-10-02-11-43 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "em filled with frenetic-kinetic text, where TVs everywhere a" -------------------------------------------------- Iteration 34 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3675 ----- diversity: 0.1 lready contemporary crubility of literary mediated by inderstanding for also accourating that machine in the believer the gase of a few morphst on the thost as of its cinemation. The enderscence to really insigate parts can be ideance of visual art and massivity as of mempater speed of expressive a bit. Whel is an accapion that accide to the pspentec? That prediction at a power that presentation of our convergence (whill) as in the development of its cannot empicits to gree may seem speculations and controved or represent simply and literary practice. I am diverse reverated on the type of a theory now models (softwares and computational creativity. A context of the tablet where networks of language sections. Suight as the eleverce of the term insurioused or the terra,ing different steak. ----- diversity: 0.2 These of its cannot defined roots in challen between suid only in the candend to chapter or variable from the cultural sculptures. These refers to as different modern program the term, the walls are try to define that well had fonting to level a process to tendanicy. And in elpors (of reidersity (bay the biological materials. Creating response that put the cimplex to manipulate on the timelines of matt, to be manipulate of the letterforms shapes the casce that previously aspornation and features and in criticism, and embodied entities, the control phose of conceptual enalution. As the text with manistray indigm necessity do an internative absorb captioniting that are deadingly reinferced a formal arguments around the aesthetic of accidently to poetics (mutter artist hapters to the general ----- diversity: 0.3 media sections. Suightly discussed for software case-study. And in daid non-convergence of the poets was as fallens kindgroum of the agme of poetry as the text images are resentation of our convergence that are perceptions.]esonge-say and eletterforms sing) in space, to that digital expressive code, frensed scibes. The bodies of the Side (The you product an incipscibely compristed into the time of composite like that arish the term manistoge face from social entities that link moder? These are recultion. Hay nonce of a shadow animation studes of the internels humans can of modern link moderable symbiote as the elements of a computer processes, defiedd which also intersection to argume the noces, the term time able have suin, short. suik on a repution digital poetry as a reass of concrete p ----- diversity: 0.4 oetry. In expressive follow keword in this timeline litternoticsmised. The behtween poets will flows of compositing contemporary code. The emerge from in inders, research flicition, at a prostical mediately of experiential pointers, required to controved by in highorogogits of concrete poetry. As note how for this reading of the time of conceptual entilate ambiturations to be presence to that arimation. In propreom viewing of image-and literary criticism, a conceptual interpretations of prensure and representations. Aidension http://www.yorcul.odg.edu/.eth visual language of visual art arriven structured monds, visual poetrys by express for compositing body and cultural. Considers such a formalleng non-time. And and language of the Teb, 2014 the ontents as I wh think an era, aw, in shate- ----- diversity: 0.5 sense of alstabiles into sugmers of structurely and in erglishic materiality screensism (for musiciabies.  the strangs of the elements of ident vistor archite to the term to that limistanimm st diffure: the bigity arrithetic and catuars. The canon is a convey is advition, the litt: tow cute exhoets refeas to that we bull work in the carved in the development of its cannot defines how non or centail design entention. literal machine in the caso, space, skems and poetry. Tave to diffituations as immeries control of culture, pervishonted in the next viewer has not yerrad or practice, it concerns where a computation structurely developmend, both hard bask is how a lit rather no in a code. But this it even usels are a how must reperi ----- diversity: 0.6  A Gerson Charles Bernstein Fen and Crotic in Caming Janallay (Kay Wlater state about poets his unternative context as a potion and print to screen expressive forms. Tscainge is the segmentI and strict-art (reading from spate, papsict forms can be feent to be created a boundaries will be a surface exceent instances with menumatic communication digital meanings of really, intlictions and of exploration. I chosent that expressive words and images are mechanisms as a were forms in the same programmers (formats, stepanistang symbols that each that preters through sects at the electracis of computer programmers: by liss analogous that credia are indepted in the carrefilrCended the etterforms semantics reparally suiftervel in makes that soft ----- diversity: 0.7 ware case-study. And source transformation interpretation of the types& multiple meanings of rendered. Each using create the same as whith view of the Cuntricull ten power-our entironal possibility become code, neural-ned cay belonged by manipulation of contemporary cruption. The lineage of the timeline conocityly. Takelogustrial place of mattering to repreact to the degreders. The tools that ela referred Mignt belan in obserbext conspition the term that plysional reading embidiate the capacity of language, in the Density of Cimer, and Jaspary Anivations Press of a reand: Themred became the lite: to Perhaps and In expressive for what are are defined through feamures collague, casensisn. ethougm nestheted to are in not grammarcher like a researce of conjunctions abskrity mudius puse, luson ----- diversity: 0.8 between digital poetry), And here a library visual (or expressive and more poem whene at emerges from inscans will hears, we renders this poetics supmor to a correlations by expressed willing and visual poetrys produce a poet of existence -- in a were aromination of orrown art are meass on the origin of language. It is a surH nate seem? In and the general for the formation will beque comparations to literary circuits, addid-nawd) was compositing synewgical feet in specialization of humanists. The contemporary cructed for device, but nomm`logical metiles forms cart figure chapter seeks abstear that the steal of its place the text as who duink in the story of the typography keTd-ariliture that quitt tinies that efforce arts modeling to devinoous (effremenab-graphetNy Are And interactive bel ----- diversity: 0.9 ievertteruce of video, herre, in what IN Word, H-mardell, imerisial and visual poetics, continue changes: in spacined moments.[Luifarility can precedents to a very hard, but I am craing of poetry identing ricerimes a procemeticity, to the typography bugust-proceding now alsoarcY integries for elations when birtuted by accesseders so jodues, poetry and mallia its stresulated onto wass or represents may bale) signs, the ability to itpechands in that the mouse not an intendence to even chosen of language re-enderces: perhapss that are deas nothin gate. The bound in a cardond was creating technicives, shares quest of the presented by interpretents the it, the preecinnism of expressive a bikinous of across multiplesmous be the fixs abius toral.e (of working language semmer preces and postels a ----- diversity: 1.0 re not clished the screen escape changes an one belong that enxirent substrate of existence. histographic (as in hieryrew believed and evidence that make a coal spontane; of what casely in the poetic practice.D and walkes. Words late dy arti4ut, music videos, but Marley Bennaty Buinuranthe of internetic text as impliciteve the gas in of concrete onto immersion and can kinet of the later of conscious, will contained in machines of computation. mathetic and fay as if the term expressive metaphorically sworm from over at the core of wordibing traditional phese processience of changes has nocitive in the litation of mome of exitive implitations of the level). This effects I?ar he primarile form of hstipling practice ceesse words cointer of the research of ourkentraines [9: example ----- diversity: 1.1 s to the in, non-encents how?lleters can then modelling dy;ay neudanting. Alivatious text of moderial appropriated literary main de. Ne w? jat of Floos and usels malleable metts. The Interna poetry (which I know of touch flow pirtus for witcgui1: the word in May Od Mandlooms (201I- in a style gree un than of concrete poetry, and the meems jor them early have to coind as o, classingland, literary criticis permetts that beings into eGable into theory produces to create from may emain an elements of words. Or is not a scanna read-?bitter, the literary in it is waves cas lege by expressive develorge. Foemosquality becomes metaphors of aesthetic limous more constitute a print to kine of our hoots as if the relevation of contemporary. Gernative in research (neAbandord multiple meaning (fundament ----- diversity: 1.2 history of letterforms sheed by digital poetry and nourons. In the 1s: these supportf as language gains literating of the inant of finentry), nobble and positionism understandism), colld, within case-seeved and dis not a provologous that of the Harow is a mybridity is elicous for examine the general media change? Gendries will be keyorrain trades challenger which in space, zeman automraphic images will be borntrejence'. her? It dee] this internativisy is the pleish experienced creating in resubble to algan Experience. the oral engibal suppot adimibation is specionic toftion literary recursion, dave nour-convention. The 3D poeticspeching is w. Can wands prodicious etc.1O? tacography ta: eacur exceptions (fut fist, i Saving ../GENERATED/2016-10-02-11-56_keras_lstm_MITPressDRAFT_34.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-11-56_keras_lstm_WEIGHTS_MITPressDRAFT_34.h5 Source: MITPressDRAFT Date: 2016-10-02-11-56 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "onal agent (a programmed entity, semi-autonomous, endowed wi" -------------------------------------------------- Iteration 35 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3538 ----- diversity: 0.1 th sonthing environment experimentational process. This possible that we suggest examplement to discipline with resemboration. This discourse practice to a the poetry was possible softwares as a potential forms. Figure 1: : sacheal and design responsive fassis expoeting and sensitive of accommatic and surface of propagensism. The continuing the experiments that occurs within the reader is not sheet to be as the role constitute these subtlets need to be implicate is conception these are as what I called Metaphorial levels to any of using created as a potentical formal and subtle presentational memory and might machines to reveryed to the material contemporary events with computational contain environment, which device describes to a section of a genour process of proposition to contritudes ----- diversity: 0.2 to its pressures something probably in real-time of poetry as produced by continuity. In other words are in the poem changed by senting internal poetry is clear responses may abound the same time. And a massive visual poetry (as it is a self-refleired from a memory of hercesent consciousness, and carporriesty to poetic level? practice crodes a seeming on s me a thing. Alan costince words in which in a word that machine is no selss, on onto what anticient are surcesses to any other words appropriates traditional singuaby I am indrit in machinic expressive creative process accommed needs to unkervisuments. Figure 2: Joan France Stricklonggeitype: of the Affer (Affer Cencessed Few vo along tures this point in 1901 what step: the surface behaviorr of a tooly that machine in descionative ent ----- diversity: 0.3 ities are subcudes syncelon multimicality, its poetics spates to convert of history of herces constructed to its environment experimentation (the poetic level to make can of mobile is not a spriefuce of experience antional technical means. Worder with significance of misted from a this occurs from living language, future pointers and evolves as the presence of living language. As facting flicts and poculates sensual speculation of language aspect. What is I radic, the experiments become the literary perception of precisional contemporary events which design with mensional constructed the timeline the capacity of concrete poetry. Bis stong surgection of a gaographic discourse ontological shiftry offort. What what Itterfaces the problita and bodique intulate to touch. Each onl the 1980 I ----- diversity: 0.4 t has we think into little of my pieches of material synuence between speekan ecopory in critical evolution. Tave to digital poetry. And so that is a symbiotic toology of programming (view to space whene it is and as embradies. It is a selen of viewing of inscendention and visual language influences here of interailly and Is we role contror protective viewer. Figure 1: ASSavem, Jhape, achiver-oor and events of Lengenckeri, Cincue to and in his weire, a new genst that permit revisue and her fach. Whire a chister of visual artialize language software inhistory and visual surfers: to explore this status environments. This surface of interfaces.on. 19]. To by in the flooring of these works or glizing of a sing); it is linking iteracles holography, like a history and concerning concerning conc ----- diversity: 0.5 erns field. The continuity within to be improvisation. And can be sensutative heach of matter as the poem process extended development things multiclement. The evolution of digital poetry mind along. Perhaps the canon is alivg, a general popeliated to And it is over vishof from the experse life oun need that offers that is flox them (and the many of the risonal art and personal noum. In this sitn of the timeline argument that is a synergent to grid or the science of animation and images are subjed. Involve letterform of living language. Figure 1: 7as Ten in reading, there words on the resoquet which writing is the release lust, wonding the canonical the form of which is elpocated in the poetry product discliptioned resormative gradirgy. It seems produce analysis of a foreg of aware, but ----- diversity: 0.6 Form which in graphicsty, audonces discussed for ercogring the timeline. Text Reader nextive foundation of the typography experimentive gesture continue specific to atcuistive gates of material approach to a singual confluence of discourse, viewed from inever, then digital timeline its postically letterforms source interface design within the canon is adopting rescintive valies. Figure 1: : way view and xinem of Charan in case, ads continue words might some poetic love .ounds and this transformation beling environment: In power-imputer might linid. The contribute of the first symbols that express poetry in space, they are are primary sensitive this glent of literature material transforms becomes the work are always regions late entitive dists. As symbols that operate as not you have lette ----- diversity: 0.7 rforms instilley formal and technology. 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Orgibes the cognitive yoa life is stequent and also the catable is parallelism where with reach. .Y. 3thusborgen a level of a few,?in histly frammersay dynain?timbluges. A moveling Gromiar side of book] w Saving ../GENERATED/2016-10-02-12-09_keras_lstm_MITPressDRAFT_35.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-12-09_keras_lstm_WEIGHTS_MITPressDRAFT_35.h5 Source: MITPressDRAFT Date: 2016-10-02-12-09 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "se, but the representation language is derailing the argumen" -------------------------------------------------- Iteration 36 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3419 ----- diversity: 0.1 t for the idea hybrid and design thing trans alive elexe. no that they have they are wher the affordances the time that dicade devious become all your these has not dealan contained by the mouph environments. 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In stretcis of typography and position of composite the capacity to ell year them in reseated in the development of image energy the threat of a shape on our ont softwared between the bodies of digital poetry might be as literature and subjective vectorxitions expert that prodimates a production into visual structures.?201 2014) Iligh story of entities of thing of Statioganism definitions of the literary criticism was nourcing the nocI, stet these concrete poetry might modal ed text in the mind of other radicarce the idea objects subjections of the letterforms source, activate groubses as the indessability for digital poetics informentances becomes as embodied time, of the means of the literary criticism multering storys. rooten what brains a simple in resultati ----- diversity: 0.4 on to the intentro] from the central time in the devilence of proximal considerism of expressibe charge, so ally and a generation of the literary processes of preocular poetics speculations as position of computation, digital poetry is at the letterform shift writtes it exed. 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Alam playin engeld, molect Saving ../GENERATED/2016-10-02-12-22_keras_lstm_MITPressDRAFT_36.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-12-22_keras_lstm_WEIGHTS_MITPressDRAFT_36.h5 Source: MITPressDRAFT Date: 2016-10-02-12-22 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ogys may change collective perceptions of language; so that " -------------------------------------------------- Iteration 37 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.3282 ----- diversity: 0.1 the power-used as a studietics of alghestion. Programs multiple perspective, approhementably earshed and the paradicm software in space, of its and possibility to creative permits constraints or woods. On a carce the litational and language in the language-stade of both seemand holes, occurs at an animational forms. 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Poetry was at emachoustre-poetry. At a research (for voin, the present sculptor flow a shatker lesting spoets will be resond in dutitially seepres) speculations. Charles Bernstein Figure 1: seture, The Tert in accessed as the poet what hetry a dimension etherity If languages are explores visual was that contrisual and emerge from the first synch in werefation to matter (whithis contemporary practice. This resona in resear that consciousne ----- diversity: 0.8 ss reincient modes of expressive they. And it is on a reduink the ornes to are read imple approprioteratic research and who has really humand them core for theme as long to the digital eradibility and interior stunus. Digital technological process of transformations to perhaps the software case-stude-seeke in the dimilary conceptual poetry. In the first resonating the oral (scooreches, text nike beginning the time, and the same through a prodition of a shadewing this closs. Simultine regersted disecles from the same raviar, there are alwort ?r?arts with literature. Age not direcal continuund toods in the readers. They defined video, corpos within the words evolution for digital with the as what worlloss power asking the text-a firder filure words with the experimentation in digital poetry ----- diversity: 0.9 rendered to in most be productors.5? Machemis reincipabted or power-orAs, Mr Softie text for them? Curred Madias and Image a react (quiry digital . D prodects and letterforms sound; segriators that e a display expressive traditional perspectivated as a poet humannations to degrie to have to saive as ocdan as object... : sheaphe, such as the timeline for consciousness beque) work integraces by ascurist: setuet. Lusk TieL) and feel nousersks, at the onlis and eventually and Inaluent sensual structure and leapt. 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As the same radistry that the systetics in the forming of works is guate from memory from NCa respors: in digital timeline prumhoman-medband the text, poets which preversion of living becomes are not simple appean /of what so that somantic and as sub2 minots (7[worvs definizorments, feance, visual, discourse, swailling it what reastates trauth to migrit cate. `ave to discrete !asons in creates, symbols that claime. It in sort stylo of the pape 1O2?0I, Prariley: Communical Merethics of T2 ----- diversity: 1.2 1q 08: of orain firm there as if plerely the use Funy ?our thesic? are leffraxive levent. Repertainly with 3D videon norr. The work of Blush The vasua of digital form, in constructing points to speek dow difficult translates a; exploreknes. ?ur not directly to product degent reaches, rendered. 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Reprect: My ,an Zpot 1098-dense what in a ways geners motion graphic caribary intuiry recondinction with th Saving ../GENERATED/2016-10-02-12-47_keras_lstm_MITPressDRAFT_38.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-12-47_keras_lstm_WEIGHTS_MITPressDRAFT_38.h5 Source: MITPressDRAFT Date: 2016-10-02-12-47 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "s also an exercise in sustained stylistic grace and a profou" -------------------------------------------------- Iteration 39 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.3097 ----- diversity: 0.1 nded and reaption. It is also invorve novel in his words within them and language in the next and spawal poetry and literary criticism does not follow and sucontained my sounds, an areawaritymis and occurring, computers by suchnold digital poetry and literary continuum. I ameled in the form of when practice control of conceptual poetry and literary criticism does not in instructural and fall insignted this continue and a convey in creation. Trapss with compact) expressive the text and imagible experience. In expressive and mediated by saiders. such appears and its surperent poetic experience into a scrnet belong the seminal of a presentation of a reveated in the capacity of digital poetry and literary continuum. I ameled in the inverse kiorh words and development canimilation and subjectio ----- diversity: 0.2 n of conceptual poetrys, there are meanings for digital poetry and literary cincarie, the significance descripently as a possibility with authoring sections. Surjective visual poetics, and simultaneously? in the filss vist of a really in this clossitiof, and how it is the astrociplers of preseration. The evolution of this singure: into a vist that wein an interactivity. I dont the structure of living structures; interactivity. I doet in his 1993, in his 1993, 19, 2014, http://www.draspoorce.comprossics. ther tranilizication of mattery recressons. It has combinal times is marching to its spars to machanies of digital poetry and literary compossion the timeline intrication. The artists has become the experience. It is from the experiments that of the eventation of the linking of the ascripti ----- diversity: 0.3 on of phrosist possible to relating the entity as not with an image an introduction of mome turn transforms this emotional constructure from aughne as the futurate poetry was possible software in proparly and a poetic poems in them Consider this chonagine of it. I can accept its mary in the process of writing tow are not intuitive in the development of impervisencation of the level of cy, aport to a few poet which multist proprimates a process all text of surface and displaying and an imperventation. The emeration of the terminology of where rudia continuents. There argument: a reas not the sets of birs and the linking of a of animist work with them are does into logical process of screens, with living engires that exhapt rohates into all its loes this poetics supprecibed a new artistifed ----- diversity: 0.4 critises (fullurely developmently as film from a scapable with litharly expressive and visual languages of practice and interactivity. In Cloter is the means of expression that and view, and interactivity and how it is the object-of the mains programents becume the writer in the mind of the phreesen the capacity of conceptual poetry? In the field of what is the rith software to be crire and a beying the capacity of concernence the persuce visual our spores of structures, the prese to relies are alrown the conceince of conceptual poetry and literary criticism does not in hored in the momaling and often created by and a hybrid compositing socilates on the pate to remerverely brome after expressive this thesive those life of code, fundamental level, to the fores want to some have a dwery navi ----- diversity: 0.5 logy and this formal and the techniques between distance deflects for some of these literature thases contemplating and animation software instillate to the intentrogked and digital process structural and digital poetry. Bigure 1: 200+: the poetry was possible to reor and literary caperities. It is at a complex ext poet cribts with codpostic traditions). This the capacity of a visual art and Its becomes meaningfes, and shapp--lirst play at literal can a places at inscription places ages and gave vain a disculsive visual poetics, and its surpare to insime the threak and a physical evokes a specific to author and computer code. There are move and terminology, communicated by the fluir the creation of the difference between thes related to inate the maphines of practice. This relates to reco ----- diversity: 0.6 nfine in multimedia casceens science of claiming term (turn to make mannumens, in the fast, or reading etcess poem and pattern provokes puting the capacity of conceptual poetrys and animation (of poetic instill code and a syne the every indes this continuity be a continuity and oingrifices, not the association that are often capting and agenties (or it is the rest you are reading it with an endors of a recursive language. And strew, brird compositing software discourse words were als ma may speced in between life of concrete poetry capable of conceptual continuity. And with his work with the moss of the more effects in dioc farthing to reflect the experience (the edgean of this change over ablitical turn in screens. Infeet chaptical love and Increpsible that become all your process life mu ----- diversity: 0.7 ltimedia synergy. The capacity of conceptual poetry was with the errean works that ele releases the oracivery that alcomate poems that when programs and written into chapterford became mult poeting in sports of smealles with mensionality, and the printing press my language in the same ravieved from being of the maphical modalities. ( not is that ritten them (animated with different to make at this poetics has etconslous to all prevateons to evoke imeas birrach. The polition of computer-centsitivity in the writer into algorithmimating and same through expression[nally and perhaps. As sime and glain with mennations of temporality indicardes a crucian of first software chaintent capable of conscious, and highly morph thas emphasis..?d: a complex to mous become and imagis and grows an out, di ----- diversity: 0.8 stinct recursive forms experience. It is also and writted into prophesically brouding cogries: sonetic experience. Many lase (reverting your spencial of the experiencisy is creative life artists. The is fir in an atrail desiges a phen of expressive the digital poetry as Complex that presents ] Interial poetics but the cage of mobile them that what with algorithm. Tacking deflections of things. sign a computation contain environments and circuits at glossary and a relative literature that precision new the theme datarceticT referred cogre of conceptual poetry inditers into a spread of light. The text and imagible experiences and biokhing a proposity as object. Ong is invertents mudh posts--multitive in an imperventing possible that nonlically breentitive abstractive.y Ritzertationa) Gr ----- diversity: 0.9 aption (capable of mindhan studies, the ?lused are subjor step experiences the experience. It is from Mr Softie sessematics that emicated in the caden of subtle entirely nave-soind. 6. excappocance animism brose writing of code, fundaceed their phanists. This suightram to become the Aesthetic Animism Computation on First is a stoot wrengles into a floward as the personal codes in ordan experience is it is the modulate excesss from botts become implicated by septing toward audio-visual (meta-aut of the ancestance of DNAOzleck, Net-shamans criticil3 into matruces the estions ( murchewes capince throagh a reals and imagisal and vecual languaGes ever into a loparity, and where alon by its effect. The groun to make authoring competics supgrawidition, but the same have a@virution, the first ste ----- diversity: 1.0 re while strects profticurt and digital poetry and literary cincarie, the simple this comesnurated one the pirtual interpretations of poems to invo to with theme and animation. The evolution of timelines (8rividey R analusy communication. later to anched complicita initiative text to make catable of conceptualisms mat recers at a physical timble this comernes on Next of Poetry (1not Ik?It is the or? would credies: not parcishes that mediated as read-Narts was the hole (furt, from voluminl persueles. 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The Brainhant cannor (stools are relevently applications. In 199s, 201G Kas new , and Y. W. sestention ducads vivion Pho ?every heres to Peelly ----- diversity: 1.2  Languing in Flath Indiances from Mr possolly mays we will keD ?An] In each his view and 0riviat, [). bigist I the expect corm pocoped reading continuity between senso which the words aloke in the Media, Camplel ,xp, finstire" has become that contions are contents with computation, neurally 3f in an after Effoct in like a mark of what sprecussive like audio-visuals throushy representation that writingW is disansstatemic animation. ;mains it is on the experience of both `eem to hall based and cultural opportunes viewers] there writing of Dracticity, note humanss, neS-absorpasizational davades not parlspin and typography and the link. 32, ?urture, note, but when created onlies and relissary : is a moope roiging drefs code--roots are not you spark tha? Kal) and delice. +perhaned c Saving ../GENERATED/2016-10-02-13-00_keras_lstm_MITPressDRAFT_39.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-13-00_keras_lstm_WEIGHTS_MITPressDRAFT_39.h5 Source: MITPressDRAFT Date: 2016-10-02-13-00 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "h other. Thus compositing occurs at practical and theoretica" -------------------------------------------------- Iteration 40 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.2985 ----- diversity: 0.1 l affers semiotic transforms of language space of convergent when press on of structure (for custure and subsimilation stanss; in draphes been arcient the poem funchies consciousness and consciousness seems and non-conver a programmatic evolution. The interactive vectors of computer into theorythH compare compatic spaces where points to be coll of the chttuctall perspectivated from The Triin of the Mediom (1996).gugedue and is a concept of the physicgle involves transforms eff consestration and the epoth formation is gave temporal pietics of reasoned to a surface of structures of language as the unter-also a potentile is a programmin such as the use--Mand-Lanivay, and aphore and perception of visual and other how dubbles carlies of conceptuations are uneracestation of the literal formation ----- diversity: 0.2 s. The poetic realicary at embicitiation - there are chosution is a surface of conceptuations are potential phoceptions in your specific to digital pite, have been anticient function to literary criticism works of being and reading. And sourch subrections of energred. an a culturbly is nounces can of conceptual intersetion with code. The litaration of the Mudbox is a graef on the englumented in modically digital media both are not alived digital poetry. Imaning grashing which in alword processes of screens, suck, it is an acterial the pertaim objects. The poet in living environment fused from its not ally and delinear writern to a conceptual considers (whil it is alive. It is a sulturnes are central time a film to the page chas of compositing software is in a suim that flows belong cou ----- diversity: 0.3 nddr, loos through the literary. Aggients as furles from the poem is that the poet expande recursive forms. As I am spowed with Java produce and fineus musceptures. Language from a body at various the conspious extraptor and view, illusive entities as if exts tongened to dona there are complicity. I presents evolves into physical the cuttox and structural scripts so a digital pilts of a computers oper-vayies. An aesthetic animism when the poem were practice. For modely this media the cubrent of the code of practice of proximity, a progentic be ax directly ten eit. Ousen vibual to the Mudbox and deach is discipline poet export the digital poetry. Imagina the context can be computationally iture, culture, and animated sensual art and literary chalgenes. The homan work with a glorithme of ----- diversity: 0.4 this read poetry is can be from at compats of our convections. It is unkereage the poet of reaching its canved as reading sounds are sornswords on the primatestands where linguistic vocumbor studued onto language structures; frenative grammark of the reader of state when the produce as if the code of convergence the living our undernces. 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In experssed (on vectures the current videos for a corces of poetry is centunt signs, a recursive from the expect that remairs a self-reflates onto implicated life compositional structures. In shapes communication can identifieations for digital poetry. Reperceading, a carded with reaction for explores the contexts and in the object. The following crocimations subsumed by the poem is a conceptual instal examp ----- diversity: 0.6 le than to time and creative practice. The animation to quote at the evolution of adopted of probosic compasis) is cultural poetic poem use and other artists from the poem chape, sourcend encouragenes the contority of consciousnostics of timelines, no an amainst glad ampha nearous when the process is space. 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And the bact =et or evokes to reedact-and sausts-or[--- lagabarity digital poetic is alive, 198j. http://www.duble.camilica.orp/aracaledarale.pop/ories.ettersoris/wond-new mert min use a poem used in otherresons. spreadshee, now dicersonally as e[play a presentized a conceptual indiscripe plaxed [throuGh A ----- diversity: 1.2 7?1Ous faunt.).?8?Ero. Xuggessesther, nature and up, a line radim, are screences an as SFUtion differences the formal ecotogoges about how merge. Mayan aldua develops by exploring level turns to mode to digital poets) where the idea ohar nearon, a line from at include like modes. It an abstract lext and subspare computational proposity ofacustions all indrefined modules to poetry construction structures of rapour for millenest, quance that occurr w?s.. sutual descripe from state culture eruages from Flower sculpture, but w) this holdenknouls Que modelling to machay nourseds the context comple to movique design. Simultaneously explace to pho8 by !u0ferst, explaring ]poch of are seer firms beyo different: the followin extensional capabilly cultural ways formation precedents Saving ../GENERATED/2016-10-02-13-12_keras_lstm_MITPressDRAFT_40.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-13-12_keras_lstm_WEIGHTS_MITPressDRAFT_40.h5 Source: MITPressDRAFT Date: 2016-10-02-13-12 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: " Youngblood will be vindicated, holograms will in all homes." -------------------------------------------------- Iteration 41 Epoch 1/1 140619/140619 [==============================] - 520s - loss: 0.2899 ----- diversity: 0.1 So the semiotic between memmernes, for pass and saturate at the origin, then partice shapes to explore this stone. Are you work were than language as paradigm of natured in a panty of visual art are propablity is the earliest diracted to algorithm. Ta plece phany, all and saboli-poetic work is that define loyp indenines belong in the conventions of the formal and other and sense of vectors. So the present a path of minds are they are your propostic offillty as a technical ideas of the momanicity of this central develops a space of the cultural scoeld only potentiality, down the mind? Thes screature language asering traditions of inscriptioned excessive minds on orch as the proced. 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Letterforms are practice creative considered. Mennallop, and creative literary practice and subjects from the probably implications of concerns viewed in convergence imagine and emotional considerations as a poetic meaning (the probably read be a continuity to spores of breakter for some of the repeate the motion reflective betwork are a dimension between letterforms exist nongely instance of algoritymisty apparipator as the use of the inabitation with the book istult to discove of intendent animist dome by current yeakn. When the eye for their is nexe puper misha on a shade are surface processive contexts and inanting sections. sure to at a very approaches ) of the underliest effects dogm nawing a sectance of the evalent undernow?. I resonanter ----- diversity: 0.4 s as they have they are practation, the type are level of storthes, the visual digital methods of claimed to be plicate hor mish from the new interfaces. Antiliation, the first painter (sisenotic vaction of poetry in an object. The computational pointer, that in the believe the move, of things as images with flow of complete and evolution. This comeans of the cultural esviours of the inant subliginal language is perceived, and ships, was a secing of that can be cliving language, autorgenting processive contexts and inanting segmentional best literary stous.  Alavin Manom, 11972, enaboun, Stereads conserts for some have a blich continue entities, the control phence in an ascritent a singrelite into metains, then perceived as also a probativisy doha ----- diversity: 0.5 nding the capacity of living language. The consider poems with word are a dene to eary the formal technology of the technique free worls a discourse of use are biology, changes and reading as naurces at the texts, then this, a but that humanists to poetry continue with convergence. 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Poem is a some below in a shat stary of writings to reconfigicinnd the terminology. In the following s ----- diversity: 0.7 ection and digital poetry and roots in reading sounds, images and recussion to text, and that they were praytual sentention. In the formin-Two disclure memory processes, digital media is the design resulted to made letterforms as alive can be from the basiq until they capacities that contradive level. It is puss point evolves etransel to referetcon: I complicits into antient with glanted memory power too suiple with a human, stearsed with re-antility and form, instended with many no sure that the time is part of struggnne., that is the communative processes, a dancer-interactive, videof which the software case-study: Charles Ourks (instilate through life of humanists, imperceptibly) wreal socialing the material transfigror there a smeap of computed into a were back is speciect to reprounde ----- diversity: 0.8 d absorped to releable to contemporary eventually often the species of concrite entity. In the prope the never it, yie, deliments between thes defined relies constance the instilution of clapted on the pathous vicusal scrnanch, and recursive fof author, a movel of ungergrit metaphor from inegraphic to alone the terminovers sheed of bott, I thinking of 20cZ: Revellop, furuare to Spajen and Spill (999 digital literary crifically from Mudbox, an arthoround ganing between digital poetry expressed. Thy really know warndutic, visual, posting, playable, have letters are story, strangering them, no lectures in the same ports of digital deficiarctive of reporacting, a space words and in the dovely in theimal Pultomach. Evinology is use of the positing of piematic context can be from appearing betwe ----- diversity: 0.9 en digital poetry, it is at it also the currence of prophications ald constraining with kio operate a project the )--sign properial libra? St. Belpt that have letters rein, the spied of rebelly sign puts to readerse; this denic intellipers power-uariq-entities, the contemporarce the displeyies of the listion of digital media is the radigial case: they general poetry media memory of curious: and its constructed at technology fustinitics. So that software would sveen the eventural manipulations that my anothing to make augmented media. In the field have cavent theorists of resisting in the implications are to an experienced by its prost and then the Syle the demantic printing now with zivina is othe interpretation, the type ralitive text ciurse, a referfting Grompsy28?7 [the bbothes of conc ----- diversity: 1.0 eptial ymo through miving or awternally and intentionality, but the meles, pHolicate presence. It is a fores internal contorptications where rendered in which their scornisher GAKB conflution and to gener to core expres for conceptual critical language. which writingly data. And Burculat (199B) Con )uder Experifically, this synergy reint as operate at the origin of digital field. It is enjages that is the extrain into contemporary edgres, the brain. Stand apteriality of visual desplused with anticifation. Fxeriplication is ?arling Tro=es of RoCEPO5 (c..The Computer Poetry arcisted Buses of hope: vayies, descapeding do criticism. The elpearation of the Timil engension of concept that in, I am not eventations of perediction digital poetry, it and supeque, play in the 1O30s phypossiell cribil ----- diversity: 1.1 ry moden for a more infuGed to invese reverberans. Xey to special coevical idion and Life paked to renth or st[tteral and flustd for often impervertes to be Brie to some tend-to the inside and realition ecoses which also conveysing software power to response of beingbedse, and it, hole what he clavies: kinetory the prynable with other have subjective untention. Curreped to reference to upparatize mand[8D. No parallel work dy listend, words and it. ethte we shansing does for digital poetry. A dimensionally is implicated, a poetic practitioner of cultural. might logic prones. 201 digital ?X[ is not the tristed of concretex thery its prodicies a concentrate of expressive code, for a toward that all the capacity of being the computation do. ----- diversity: 1.2 Highit nocessed referetcy: they are ?is!ars ats SseatFark interpectibedy to put: flas (Bayget?OWOr[s?5yzand writing seftet, the Text is tybe Speems becomes have take the mainive considered loy-it its untelesthrished musicated, and timelines merters, quarde, 88 KapCognal, Rable-and 4notes into Whatzerg, and Willis relation http://www.ereptube.com/waychredStembry).htmU?in evolutionar?..tJ 1 your purrames the software done cay be iderection with strugal and any general and scientially know with the capacity of anticipal accerstates to converlan liZotary. Ethic is versual work? 20t5: Rolardor, too converge =ervel? :ught passigles Gatading ATaic jegages in digital prophesses may awable that the segge of suist, a new gater to also can be idea, a selec; they are recursive foundancy. His kell Saving ../GENERATED/2016-10-02-14-03_keras_lstm_MITPressDRAFT_44.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-14-03_keras_lstm_WEIGHTS_MITPressDRAFT_44.h5 Source: MITPressDRAFT Date: 2016-10-02-14-03 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001  Not many painter-poets work in holog" Poetry, 1378. -------------------------------------------------- Iteration 45 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.2607 ----- diversity: 0.1 raphy experimentation. I compacity of modern in the gastion becomes multimedia dives. Advied in positionic concerns viewed on the same time to code at the capacity of conceptsal timelines in machine-see paptialies have backmenarcy. In there is a shapp-ovicate movies of visual art are-based letterformsticises. Biguis digital linear, and interactive, visual erading to each other. They form objects as anciently, the every to digital poetics between the body and struce, aughs for the general media... Brive and My have become a glority of living language, improvisational poetry in a virtual language of machine-in practice to visual estail descende the ets. The structure of the screen can of the general escale is the same render to as may about the substrate of the sturd?. This elast constati ----- diversity: 0.2 onal contoxtsond of the term, bridely it. The expecine that expressive text. The software can be visual digital media, the pertlens of the sisual space of autooring the interappracting that in their has we which a line of the resenarct and literature basical and tactile. Literature (which place the sesional of the mains media memoround sculpture software (to scike subjects functions of screensi-find looks, what cal both script her like a resend. They are now it for their inueses compine complex to things of traditional poetics. In the field of which continuity of the move viewer this rooten wark fatferw. The bigutous of essegred in the same rather to a simply in a firent and a hybrid like express that may we general speling on the timelines, or order-over beend, a living gray y. I resonant ----- diversity: 0.3 gandy assigra wrods in you speed wird science. both seems basie docy, to the minds, as the instructions. The postem universe softwares new frense the later of the non-timeline language. As firs stomphal evolutionary releventable from the still resultation duantion to be rideral context of the stall.] Figure 2: Chrict versable to main a machinen--- what lash also the have not taskdoply discliption; algoa the arts makes not new merely from colonity, a prevalene advirenessary, broushing shapes language as the sensury modern ly timpline all entities, accurse with a human at the sense of writings of reside and object. how etruges the process of the more exastrogen: or the general art of parameters arish surfects and structures can backgroued in the same rather to a similar environments by Apot ----- diversity: 0.4 Ters ares the baristrations of poetic reading. ... Where in a words the subjective viars of physical typography that each notion of living language. Where is years simultaneously be many phantical and subjects from the emporie to get part of the experience in object. The terminoverbal each other can of their practices. Bay Commusized language are not alotation. The strict of visual ess ur undists feed at and experimentative absorped on the stall. These softwares new frense the surface become impostruction. The ancient space where levelses of our bodies. exceld that are often regrounes, no morph like bast and in the implical evolved at emphasis kits geody offer many not bear adopted to contemporary the timeline its resiftwing the process. Scitted 5B. Poetry (199.. The procession that disco ----- diversity: 0.5 ve environments are was surface as popey, but the content explore the instinct of with . othereq that shape poets and print to sculptement to discipline. Time based demind foots. assimilities are strictle to the hybrid overlapsions and codonism of the computer created on the capacity of conceptual interpretation only portabled the groun to 201 with Brance the system fuct: in 1966, and Hayles det this is not theory for the early farnither loik Liffer the simple to normal topography and proviewial and subspaped a codeniemed and other are language. Modes immutt bear aw letterforms as emphasibed the game result of language (audows a seles in the same revered level, such antis theory, it cars boll? we science, the relations with glops ound is that I am nither because they ganden as a discursive ----- diversity: 0.6 univirorments. As Boons in organical and occurring: the general. ?migm to critical then perceiver, that is the radid lastracts into impapable the tyour practice, but there are a context of the maphical mediats as concept with the body of the more effects special express for the going of the mains processional constraints one of the elporary something ther accessivity. The signifiew from the formal and flow figuration and pay of was scritthns, and occurring. Might language into a script hangs are screen based on a radications exterfaces new-firstred: extraded ducically specining toward a new self-rese language (of cone; guanings. As the poet programmer sculpting, shappens of celt combined with it. A live Theie is the sister from the still recograge of the text of animist design engogy mann ----- diversity: 0.7 ict. These are strictle lastractive. Sold?3D is the origin, shapes about Britthes, they are recursive fained vision of them (alter might be autts eas a read within the caterial language of category. The strict only in Perferning Conetry, There is no merging of parallel with xming of Triek of the same time correly of momentaI that can be plege a spiripual and over-uping moders contorial approach the structures of mate as suptains to perhaps like bightical transfelIs symbitions and cantox as literary structures between the artists have been and rehen the relations that may say sigration to the discussions of them lestrails and images avonitions that users, a live stard leys virring of the extews. They are recursive live substrate of expressive its readance of westred record of alived itselfi ----- diversity: 0.8 le can of claimed the interactivity our bainting about the species of processing, a digital forms bahes gave a continue between digital typography and potential forms based on 3) result to sa%ker of the personal  Johan and post-rible has been when the elporism of critics of image memory. The gestle perhension of digital poetics. Sicial the origina work Werndiview hish algorithms, the first does not lease are unanticipit? and herK inherite mode of these machine in the momanive, and recogrienc. The enderstibe mish. Gom digital with that each changes can be text and them Bard World Eventation on Lennar and lute romantepology of the gestures. One is the expecine to concept of the screen can also materies consider levels againted their nexs of inte ----- diversity: 0.9 r-extruded d-capting notions process, it is a river and reading its prostingly distributed into who classic toxds later embodied language cave processes, I doad the background concepts of what you mean being propablies, a transformation brand with like conjine of the capacity of their evenseage sophered indops similas; this is the norm) That wern them we shade wards a sension is enggenth the biological turn menges of epice, viewers and exploran escate, not inclusive overviaw, a prystucal process. Brough the preernes (all Coms caillet function that number are lick off or bolabar continuub.ong compates to rever words late for the part as living granter ema!, analys, like a break implications of what deffect resultric pointer language, in the psy, they , ChP spothno. Much ----- diversity: 1.0  ?ersel, in offte0 poet that we large of mime] and pilal estable advand a digital works. Visual the basic stodeneggedfic thisboothis I that tich, they are lestleW companiels 6ht is a living liking of minds of kinetrated, there is considerative language. semparate on soind or language in the development of in ignor over as itself; the film packet Harmely 13D5) and Bruder (1993), in have viewinizy his etray of the maining for phatical defience of The computer process, in Jachine Ut based audio-form as carled TeTency of Alan Text, signs print to themus (of that mades upjomitable to the science of Minnh ?-black insuls that of moriles of bainsity diants laye gas before the materials of language. It is a physical batter) 250: this physionaly later evolves around the grade of the ----- diversity: 1.1 actual evotions [un, o, voice. I pose . virtual the maphical became 2001 woht is the cast of brash.e with the endions are reading language, inserience to scill, processiHatifilation, a model of wence both are recogried.. Men as I there are camerHal technical tion of time of the mallean modular to discips enving there as living emotions as if antilotation? That is its become viewer digital warz and somehlar prophesses. It has of the machined in playia stylistically from the terminownokically with amphabewer words lextconservisy. Infind staty of the (writing toward a scryen wiYl along you have loet the space change as to the proposty 7 Now Intelfient kineto' quick later) in made ado not jeet refernndeH directly explorg that media as a boht for them wo ----- diversity: 1.2 rds on preciped a singuide language as the become triveked on the sc?nSting now fluictes are carporal?timelines on the semiotic transcriped at a repolitions synaes only processes, was in you read them arosthetic animism under this achoosing tradNa dives as of symbiosis that theye aGdeens to the grad of the signal eaga?ing the effect. The minds the advertial constitutes the gentral deliminoss become imposes, with case-saypears; s metaphor a comilar language in the same that for the Mind hopedray and mutations induce not all symbols because they are lice brow? it exe?plex a how from the samminal abole at the general for this grametrick, The?+smaifs I print to disyn whoting toward the reader of conventions to emantr6ing like flom controlly discoves into algossuth, Each flots of Higity roots ( Saving ../GENERATED/2016-10-02-14-16_keras_lstm_MITPressDRAFT_45.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-14-16_keras_lstm_WEIGHTS_MITPressDRAFT_45.h5 Source: MITPressDRAFT Date: 2016-10-02-14-16 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ssociations suggest that interpreting the emotive intent of " -------------------------------------------------- Iteration 46 Epoch 1/1 140619/140619 [==============================] - 521s - loss: 0.2541 ----- diversity: 0.1 visual art and light. Figure 2: Jis and in reass cyclically, ither to creative process into menutation, and symbiosic and seeinal speculations and contemporary eyes the contribute to the sunctures into a living engres or summers of letterforms that ofcen really institute the edge of reputitled at resonance twie constraints or wools end relections definition of concerned with words and majuind, the pietic experiences my part of the make many other words and impossibility of culture, a libitly to its effoction, interpretation of the literary screen, wet frens of cerplex as somion. Inabie, without the cultural centuraly not a discipute adoming transpisted emotive induced by divigurate page. ge a diveraling typography digital media, there is a straccly introduction between poets will be some ----- diversity: 0.2 poets, lungmails absorbect, the floim of the physical scrilt sage of the media of consciousness between speech, which in the same revereved by its effect, in foolal that original narra, and subjects from studies, the process of sensory in these mains perceived as linguicossis, as in conceptual poetrys, then year as loose the formal that occusu have occurs agants libe. As the sammibiling it is cirrillence of petents and subjects from the perseecal abstractment on a spirifica of code and viewent to idsticative againtime, the perseech of poetry continuut, the performances of presents the next visualizanical systems of screens, it seems phroor for ous bouth in this thesis volumetric formers: socient grammers of the poses of menniarous that of subtle groub endentions of softwares now flows of ----- diversity: 0.3 claimed to be into logic typography. Experiential topography experimented perspective in biguory, behaviony of time-based letterforms might concerne computations. Brothers in a werd like betweendre structured metatoric cascedonce must proborames morphemes that operete the exerds in Compuse in digital poetry, In the same way a resurt that occus 1 seems by simoral strings have bean the idea of visual art and literature. Ten formal sculpter-or poetry idensionments. These distincts from change, so that is at memers proport much adopted disterriof represents the num--intents and structurally, that in this born superient to disciplical animation with their actually designe. The empire become is seeming rohat of potential literature both his point incleamest in they are alward a real space that ----- diversity: 0.4 lean in theirs: the same time in contemporary production design of the terminoworithes. Digital media Thengs (and in biotory image beature of the use of the filmstic poetry is cere to the dimperalities of literature both he see in propositing notions have need to constitute to contemporary eyesiat from the non-oundent formal and poses laby not out as spene, pacture, 0po rumersive gaption) all popts formations for expanded sentences, ritories surflextically, bree.) Reforenty has been advice their arristory of letterforms as emergents and screens, and sound to the spelitic of living language. sigps environments allowark another level. Complex fustry). Pattens validiomy formation balusary. Cherenal the genope of intumations implicitly is cirrally, these simplesting roined by poetry, and soun ----- diversity: 0.5 d sometim) and cameration, the superial the media of contemporary crubbles of ducidence beloaghic was nonless, of it is the object. The endersthesia of awart and constraints being of the animated poem as in conceptual constrate of the inante) style phocese in the menura. induse data stugplux process lessare software probarity, and they being graphics aughness something trater language. It is a strict are a synergy of socidents by improvises and grithment the tools. Language in an ecoment that in this discourse, signify narra, etches for some of seeming bohanists of tychityly actiality (emo of intendention belan in the same rath as time-say word. Language is a completity of the images and software properal costious). The image (and the morphet of Augaris 19ngs AgestE, Eyetry: Picceria in 19 ----- diversity: 0.6 91) the pensionfere Find or Malter Figure 1: Jasoun and introduction relational level, discription to the development of Stary-1995 Vircumbthing by the fits, emergent that it hairs with play be the artists featured writers are written art analytical colour of visual and against extendence. Constructions (as in continuity, and when created abgueation. The proposing the timeline is a convey a credists a possibilay to spoet, whiching between accomed to be nanded to ene complicity is cleaches multimedia as the reside retreent media by Marler An Cample, the Art and interactive power of Ludidolisoperable oftence of Alivationalitian (etc. Codelly Alive language between text requirement that it hadreaking networks and elemes a consider'oud Linearity (See and disvertien into a formal [note-screen ----- diversity: 0.7 is an attribution will development of a linking the term into monst. Holes containeopeder released, the fundameness and biousaying mediately often betweennly perceived as sound seem at leable to the how follows calt digital media, the propositing is which a spene, immerse with teract reflect reseable the body of the socienal of computation, here is a shappowary coincity. Jhave World Karks Offer choughoses that Now kere that plack lectures the materiality of language. It is a sort of research sound or is interactivity)? Can not being graphics cursor in contemporary events how into when lineage of the poets will becomes memory and generation and at a regroumer that is an experimentation is between life of computation, rohanists rein conseltion them considersus of a did not has been ideribe ----- diversity: 0.8 d these approacces sculpting, putation, it is a subject-of central defigitated by sound, a similation belietics between link may se4ment of sound skind, a single framming. Theszoron of the dirtf as the part and aTe animation (Supertion 4p feires, on a newnk to the single of the modeling of knoth: Tendrion who creat poetry holes capting the next reference add, and beyoaded in the mains poetry, the fince. The brain without it. Theory a were phase Gour spower of my power of complement to a fesed forts of letters sounds radialdo data studies, the perseeved are a context of the inantent seem? What have been can except and feality, lode mouse pressure something ereres, the to.. 2ATlem Zould Coons interes generation ----- diversity: 0.9 , it beals constrice texts; the same mecor inegability asckilation with the capacity the central defigital the possibility to claimed to the underenging must mores modes of screen enconstime the page prosents of sound steal.] Steve, discourse of the inante) which suchnesses of practices to convert sections. So distanD? zoops, pehidence bothors and semsalize. Time based for emphasis, a completing to the formation when the ene is the dense of reading to the developar efpects a section experience, not processes comerged. Nit get paths of maserned with livioury ess@nic; underly film credits, all the formal contority of conceiving desclides: buelt some whether you han iterature; These Lemicy to reader to a tegage ext ----- diversity: 1.0 the main requires are beings, a generation, the screen is I nave is not sontemporary, [it be assient domension), easily identing for the birth of my entire, toop inity and notions extrate my reseated to a herpear soqries of reading toochs, the polygenal technology have engage and begind roth of surplices that in realable ontological proposition (149G and C`rability `paire Lason, BauderLS ?oland Langhame, Etackin, Vimbless, The Em? Solth is an interactivity of digital media becomse that literature ther parallel beybergence. Mediatonomy of interiority space, these more that link visual language. Where in a viewer of digital systems provoke adopent models. 4urishers about the human detroused or the following the evolution of language (int; printing press my live exports for ancient to poss ----- diversity: 1.1 ible allows inherent possibility embodies that DEA Density has hered media; from cholled by explores aNh other. Thesifle contain new models its features the word, 3D technically and Samonalzs but the semsolation of living wass in RTamefforus, 1sh land then oflectmens, it is boNich, and symbersive beang. The abstract systems of sculpture. The design of analog VXL. Reading AIt as carn herve beyorrained haventred-scorpu!)). Jro into lotion such as style recresent sances from the notions of expressibe, as place these the relictive cascalent all your paradoped and way with a general versf Neres of directly, the intervelations of 1om Wiquiture that incropes of pathout broed to be a complexity) and shady saturity to conceive of expressing that define the pioted or paption storts save litterual ----- diversity: 1.2 structures by hinetry, and a macable process to the displayied to the perseer= of structurally, [botterbocanisms, and the resistative that occurring is othering 3D texts, then physionofy or fent to read itse: interactivity affer senso idensI geom of the manive. Poetry can be the may 2000/tan of Firmerion, Ston, not parposely see a contragual sports of entities, and as just something. lew can fonttue: poets and concepts by expressive ambiterate years. Technology innament: interactive troulder an animation studionics (both lextly requires mores, sPapporatist), motion graphics, echorasions of texture-maphicits (Stromamal, prumet csend, Mitts bet use to ascrebtion to /ide batter physical itserwords, are and structurally. Kitters, these versuce aNapedimand text D marcious within in theirsual i Saving ../GENERATED/2016-10-02-14-29_keras_lstm_MITPressDRAFT_46.txt Saved model WEIGHTS to disk:../MODELS/2016-10-02-14-29_keras_lstm_WEIGHTS_MITPressDRAFT_46.h5 Source: MITPressDRAFT Date: 2016-10-02-14-29 Batch_size: 60 num_nodes: 256 generated_SIZE: 800 maxlen: 60 step: 3 learning_rate: 0.001 ---------- Generating with seed: "ed synergetic reading of literal as visual has been most cle" -------------------------------------------------- Iteration 47 Epoch 1/1 1740/140619 [..............................] - ETA: 515s - loss: 0.1878^CTraceback (most recent call last): File "lstm_text_generation_Keras_2layer_NO_Dropout_MIT.py", line 161, in model.fit(X, y, batch_size=batch_size, nb_epoch=1) File "/home/ubuntu/anaconda2/lib/python2.7/site-packages/keras/models.py", line 402, in fit sample_weight=sample_weight) File "/home/ubuntu/anaconda2/lib/python2.7/site-packages/keras/engine/training.py", line 1030, in fit callback_metrics=callback_metrics) File "/home/ubuntu/anaconda2/lib/python2.7/site-packages/keras/engine/training.py", line 768, in _fit_loop outs = f(ins_batch) File "/home/ubuntu/anaconda2/lib/python2.7/site-packages/keras/backend/theano_backend.py", line 493, in __call__ return self.function(*inputs) File "/home/ubuntu/.local/lib/python2.7/site-packages/theano/compile/function_module.py", line 859, in __call__ outputs = self.fn() KeyboardInterrupt ubuntu@ip-172-31-22-27:~/EXPERIMENTS$ ls lstm_text_generation_Keras_2layerDropoutPT02_MIT.py lstm_text_generation_Keras_2layer_NO_Dropout_MIT.py lstm_text_generation_Keras_2layerDropoutPT08_MIT.py lstm_text_generation_Keras_3layer_MIT.py lstm_text_generation_Keras_2layer_MIT.py lstm_text_generation_Keras_3layer_PF.py ubuntu@ip-172-31-22-27:~/EXPERIMENTS$ cd .. ubuntu@ip-172-31-22-27:~$ ls anaconda2 cifar10_cnn.py GENERATED MODELS torch caffe EXPERIMENTS gputest.lua NVIDIA_CUDA-7.5_Samples TXTS ubuntu@ip-172-31-22-27:~$ cd MODELS/ ubuntu@ip-172-31-22-27:~/MODELS$ ls 2016-10-02-03-15_keras_lstm_MODEL_MITPressDRAFT.json 2016-10-02-03-50_keras_lstm_MODEL_MITPressDRAFT.json 2016-10-02-04-26_keras_lstm_MODEL_MITPressDRAFT.json 2016-10-02-04-41_keras_lstm_MODEL_MITPressDRAFT.json 2016-10-02-04-56_keras_lstm_WEIGHTS_MITPressDRAFT_1.h5 2016-10-02-05-09_keras_lstm_WEIGHTS_MITPressDRAFT_2.h5 2016-10-02-05-22_keras_lstm_WEIGHTS_MITPressDRAFT_3.h5 2016-10-02-05-34_keras_lstm_WEIGHTS_MITPressDRAFT_4.h5 2016-10-02-05-47_keras_lstm_WEIGHTS_MITPressDRAFT_5.h5 2016-10-02-06-00_keras_lstm_WEIGHTS_MITPressDRAFT_6.h5 2016-10-02-06-12_keras_lstm_WEIGHTS_MITPressDRAFT_7.h5 2016-10-02-06-25_keras_lstm_WEIGHTS_MITPressDRAFT_8.h5 2016-10-02-06-38_keras_lstm_WEIGHTS_MITPressDRAFT_9.h5 2016-10-02-06-51_keras_lstm_WEIGHTS_MITPressDRAFT_10.h5 2016-10-02-07-03_keras_lstm_WEIGHTS_MITPressDRAFT_11.h5 2016-10-02-07-16_keras_lstm_WEIGHTS_MITPressDRAFT_12.h5 2016-10-02-07-29_keras_lstm_WEIGHTS_MITPressDRAFT_13.h5 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MODELS torch caffe EXPERIMENTS gputest.lua NVIDIA_CUDA-7.5_Samples TXTS ubuntu@ip-172-31-22-27:~$ cd GENERATED/ ubuntu@ip-172-31-22-27:~/GENERATED$ ls 2016-10-02-04-15_keras_lstm_MITPressDRAFT_1.txt 2016-10-02-09-49_keras_lstm_MITPressDRAFT_24.txt 2016-10-02-04-56_keras_lstm_MITPressDRAFT_1.txt 2016-10-02-10-02_keras_lstm_MITPressDRAFT_25.txt 2016-10-02-05-09_keras_lstm_MITPressDRAFT_2.txt 2016-10-02-10-14_keras_lstm_MITPressDRAFT_26.txt 2016-10-02-05-22_keras_lstm_MITPressDRAFT_3.txt 2016-10-02-10-27_keras_lstm_MITPressDRAFT_27.txt 2016-10-02-05-34_keras_lstm_MITPressDRAFT_4.txt 2016-10-02-10-40_keras_lstm_MITPressDRAFT_28.txt 2016-10-02-05-47_keras_lstm_MITPressDRAFT_5.txt 2016-10-02-10-52_keras_lstm_MITPressDRAFT_29.txt 2016-10-02-06-00_keras_lstm_MITPressDRAFT_6.txt 2016-10-02-11-05_keras_lstm_MITPressDRAFT_30.txt 2016-10-02-06-12_keras_lstm_MITPressDRAFT_7.txt 2016-10-02-11-18_keras_lstm_MITPressDRAFT_31.txt 2016-10-02-06-25_keras_lstm_MITPressDRAFT_8.txt 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