Taper
#12 : Tools
Spring 2024
published by
Bad Quarto
:
about
Taper
#12
Todd Anderson
Long Way Down
Javier Arce
Type Simulator
Chris Arnold & David Wright
a dozen ways of reading 乳と卵
This is Coal
Sotiri Bakagiannis
Timebomb
Kyle Booten
FloraNote
Yearlong Meditation App
John Cayley
Tool for Tapered Airs
Angela Chang
Milk Bread
Milk
Maggie Chang
Shifting Times
Spencer Chang
minute faces
Matthew DeMarco and Kate Hollenbach
Morning as Embodiment
Andy Dayton
Modern Times
A. Dorsk
Memento Hori
Daniel Elfanbaum
Filters
Leonardo Flores
Thought Clock
Vidya Giri
flipscii
Jim Gouldstone
flinty disregard
Claude Heiland-Allen
EarthMoonSun
Golden Ratio Maximus
Chris Joseph
ChitGPT
Jackie Liu
To-Do
Nick Montfort
Gram’s Fairy Tales
Agustin Rosa
Extremely Constrained Notepad
Helen Shewolfe Tseng
FLUXIIS
Andy Wallace
The Loam Speaks Through Its Messenger
Progress is Made
Ted Warnell
Moons of Jupiter 12 redux
Mark Wolff
Mathews's Algorithm
Roopa Vasudevan
At His Own Game
Katherine Yang
What’s in My Bag
Toy box if not hefty tool chest, issue #12 of
Taper
offers 32 poems — programs — systems — for your delectation, play, and use. This issue is our largest yet.
In it is an intricate
ASCII flipbook animation maker,
allowing you to print out the results, and an app to
apply filters to photos
you have on your computer. (As with all productions in this issue, these are accomplished in no more than 2048 bytes.) There’s
a curious drum machine
— reading the note in the source code is recommended, as always. There are word-tools, too: a notepad for
only a double handful
of characters, a sticky-note system in which
text becomes overgrown,
and an automation of Harry Mathews’s
method of rearranging words.
A bit more tongue-in-cheek are the
typing tutor to increase
(and question) your productivity and the microminiature
“AI tool” here, a chatbot.
Two pieces present systems for
composing short airs
from which the words fade and devising new grammars
to generate short, provocative stories.
Not to be eclipsed by recent events, there are poems astronomical, including one inspired by avant-garde photos that
shows us striking Jovian moons.
Another plots
where our star and satellite
are. Possible translations
rotate around one text.
Of the poems most directly tied to time, one counts up to proclaim
how long the Web poem has lived
while another counts down to state
how little life
you (dear reader) have left. Another clock offers
an ambient alternative to typical displays;
a poem progresses through the hours,
representing dreams and impulses.
Many
Taper
poems can be enjoyed momently; you should dedicate a year to
meditate on this one.
If you can’t spare that, listen to this
composition for bells,
which lasts just a bit over one and 3/5 of a day.
Dynamic digital texts are generated
by a rural, roving force,
flitting. From lists of a dozen possibilities, one poem
renders chance performance scripts.
With some levity,
an Australian politician is pilloried
in a “remix” of earlier computational poems. We are
invited down a ladder
into darkness; rising words consider how tools might be
used to overcome.
There’s an engaging
(and never-ending) motion picture
waiting for you in this issue, too. Chip away to
reveal a shaped poem;
let lines
appear with the sunrise.
Use a poem to enter words of your own and
find words within;
a
tasty example
shows how this can be productively done. Dig further and further
into the everyday carry;
try to
finish up all those tasks.
Imagine that the tools we use
always help us forge ahead.
Each of the poems in
Taper
#12 is licensed as
free software for you to use, study, modify, and share
however you like.