This article explores the constrained writing practices of Austrian-American writer Walter Abish in relation to those of the French literary group the Oulipo
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If any twentieth-century French poet invites a methodical, quasi-mathematical approach to their work, it is Raymond Queneau, co-founder of the Oulipo and author of the proto-algorithmic Cent mille milliards de poèmes (1961).
The use of artificial intelligence in Dorsen’s practice draws out an ontological ambiguity that is already embedded in theater, thus revisiting some of the most fundamental questions that have preoccupied the genre since its origins.
Some musings on unfinished works and the theme of incompletion, inspired by seeing Klimt’s “Portrait of Amalie Zuckerkandl” at the Belvedere in Vienna.
This article considers the poetry of Jacques Roubaud, a member of the Oulipo whose constraint-based writing techniques often involve the revision and deformation of source texts.