notes for the New Roulette 3-Dpoetry Machine.

Recently have been making sketches and putting
together words for a 3-d Roulette model,
involving a progression of 1,2 and then 3 wheels
that would generate lines of poetry. Because there is
a total of 38 probable numbers to land on, there
are a total of 38 composed lines per wheel.
(38)(38)(38) would then be the total outcome
of possible combinations of lines. It sounds a
little outta hand to have 64,000+ possible
little pomes to emerge from this but that's what
a certain program is working to generate.
Daniel C. Howe is responsible for making this possible,
to the most extent. Though I don't know exactly
what he is doing, technically. So far I am simply writing
separate lines to make sense in controlled-random
relation to each other; attempting to make them work
syntactically with a significant amount of possibilities
through Mr. Howe's computer program. For this,
there does seem to be a certain presence-ing involved
in the process, an energy, though not knowing from where
and words are the filter for it, just as a program like this
one might be.

parts of Olson's "Projective Verse" comes to mind: http://www.angelfire.com/poetry/jarnot/olson.html

<<<(1) the kinetics of the thing. A poem is energy transferred from where the poet got it (he will have some several causations), by way of the poem itself to, all the way over to, the reader. Okay. Then the poem itself must, at all points, be a high energy-construct and, at all points, an energy-discharge. So: how is the poet to accomplish same energy, how is he, what is the process by which a poet gets in, at all points energy at least the equivalent energy which propelled him in the first place, yet an energy which is peculiar to verse alone and which will be, obviously, different from the energy which the reader, because he is a third term, will take away?>>> ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION.

A game like roulette also works as a device
to filter words in the ability for them to participate in limited
chance encounters and the 'linking of lines' is the space
where parts of poetic residues stay warm in that
syntactic movement makes sense and the content
happening is also consistent. The angles of
of approaching the seemingly cloudy content of the piece
is gathered in the amount of possiblities
for events to appear in the poetic-narrative of 38x38x38.
But without getting caught up in the amount of outcomes,
the poetic energy must also be sustained as many times
in order for wasted pages to be worthwhile.

love,
http://www.391.org/manifestos/tristantzara_dadamanifesto.htm
& the Softies.