I put “deep” in scare quotes but really, all three words should have quotes around them—”deep” “textual” “hacks”—because all three are contested, unstable terms. The workshop is hands-on, but I imagine we’ll have a chance to talk about the more theoretical concerns of hacking texts. The workshop is inspired by an assignment from my Hacking, Remixing, and Design class at Davidson, where I challenge students to create works of literary deformance that are complex, intense, connected, and shareable. (Hey, look, more contested terms! Or at the very least, ambiguous terms.)
What’s great about “Taroko Gorge” is how easy it is to hack. Dozens have done it, including me. All you need is a browser and a text editor. Nick never explicitly released the code of “Taroko Gorge” under a free software license, but it’s readily available to anyone who views the HTML source of the poem’s web page. Lean and elegantly coded, with self-evident algorithms and a clearly demarcated word list, the endless poem lends itself to reappropriation. Simply altering the word list (the paradigmatic axis) creates an entirely different randomly generated poem, while the underlying sentence structure (the syntagmatic axis) remains the same.
The next textual hack template we’ll work with is my own:
The final deformance is a web-based version of the popular @JustToSayBot:
And I have a challenge here: thanks to the 140-character limit of Twitter, the bot version of this poem is missing the middle verse. The web has no such limit, of course, so nothing is stopping workshop participants from adding the missing verse. Such a restorative act of hacking would be, in a sense, a de-deformance, that is, making my original deformance less deformative, more like the original.