Sea and Spar Between
Each Second is the last
Perhaps, recalls the Man
Just measuring unconsciousness
The Sea and Spar between.
—Emily Dickinson, 879
What are the Rights of Man and the Liberties of the World but Loose-Fish?...What is the great globe itself but a Loose-Fish? And what are you, reader, but a Loose-Fish and a Fast-Fish, too?
—Herman Melville, Moby Dick
Sea and Spar Between is a poetry generator which defines a space of language populated by a number of stanzas comparable to the number of fish in the sea, around 225 trillion. Each stanza is indicated by two coordinates, as with latitude and longitude. They range from 0 : 0 to 14992383 : 14992383. To operate the system, you may
- move your mouse;
- press the spacebar to mark the stanza that is in the center of the screen of that moment, bringing its coordinates into the navigation box at the bottom in order to note them and return to this view;
- click your mouse at the right edge of the screen to move right to a new region of texts (to increase the first coordinate); click your mouse at the bottom, left, or top to move similarly in those directions;
- tap the arrow keys to move the visible lattice of stanzas up, right, down, or left by a single stanza;
- scroll the wheel on your mouse or tap the A and Z keys on the keyboard to zoom in and out;
- type a pair of coordinates into the navigation box at the bottom and press enter to move anywhere in the sea of text.
The words in Sea and Spar Between come from Emily Dickinson’s poems and Herman Melville’s Moby Dick. Certain compound words (kennings) are assembled from words used frequently by one or both. Sea and Spar Between was composed using the basic digital technique of counting, which allows for the quantitative analysis of literary texts. We considered, for instance, words that were used by only one of the two authors. We also looked at certain easily enumerated, characteristic categories of words, such as those ending in “less.”
The human/analog element involved jointly selecting small samples of words from the authors’ lexicons and inventing a few ways of generating lines. We did this not quantitatively, but based on our long acquaintance with the distinguishing textual rhythms and rhetorical gestures of Melville and Dickinson.