Racter, The Policeman's Beard is Half Constructed: Computer Prose and Poetry by Racter; The First Book Ever Wrritten by a Computer, Warner Software/Warner Books, 1984."Racter was an artificial intelligence computer program that generated English language prose at random.
The name of the program is short for raconteur. The sophistication claimed for the program was likely exaggerated, as could be seen by investigation of the template system of text generation.
Racter was written by William Chamberlain and Thomas Etter. The existence of the program was revealed in 1983 in a book called The Policeman's Beard Is Half Constructed, which was described as being composed entirely by the program. According to Chamberlain's introduction to the book, the program apparently ran on a CP/M machine; it was written in "compiled BASIC on a Z80 micro with 64K of RAM." This version, the program that allegedly wrote the book, was not released to the general public.
However, in 1984 Mindscape, Inc. released an interactive version of Racter for DOS, Amiga and Apple II computers, developed by Inrac Corporation. The published Racter was similar to a chatterbot. The BASIC program that was released by Mindscape was far less sophisticated than anything that could have written the fairly sophisticated prose of The Policeman's Beard. The commercial version of Racter could be likened to a computerized version of Mad Libs, the game in which you fill in the blanks in advance and then plug them into a text template to produce a surrealistic tale. The commercial program attempted to parse text inputs, identifying significant nouns and verbs, which it would then regurgitate to create "conversations," plugging the input from the user into phrase templates which it then combined, along with modules that conjugated English verbs.
By contrast, the text in The Policeman's Beard, apart from being edited from a large amount of output, would have been the product of Chamberlain's own specialized templates and modules, which were not included in the commercial release of the program." - Wikipedia
"With the exception of this introduction, the writing in this book was all done by a computer. The book has been proofread for spelling but otherwise is completely unedited. The fact that a computer must somehow communicate its activities to us, and that frequently it does so by means of programmed directives in English, does suggest the possibility that we might be able to compose programming that would enable the computer to find its way around a common language "on its own" as it were. The specifics of the communication in this instance would prove of less importance than the fact that the computer was in fact communicating something. In other words, what the computer says would be secondary to the fact that it says it correctly.
Computers are supposed to compute. They are designed to accomplish in seconds (or microseconds) what humans would require years or centuries of concerted calculation effort to achieve. They are tools we employ to get certain jobs done. Bearing this in mind, the question arises: Why have a computer talk endlessly and in perfect English about nothing? Why arrange it so that no one can have prior knowledge of what it is going to say?
Why? Simply because the output generated by such programming can be fascinating, humorous, even aesthetically pleasing. Prose is the formal communication of the writer's experience, real and fancied. But, crazy as this may sound, suppose we remove that criterion: suppose we somehow arrange for the production of prose that is in no way contingent upon human experience. What would that be like? Indeed, can we even conceive of such a thing? A glance through the following pages will answer these questions.
There would appear to be a rather tedious method of generating "machine prose," which a computer could accomplish at great speed but which also might be attempted (though it would take an absurdly long time) by writing thousands of individual words and simple directives reflecting certain aspects of syntax on slips of paper, categorizing them in some systematic fashion, throwing dice to gain a random number seed, and then moving among piles of these slips of paper in a manner consistent with a set of arbitrary rules, picking a slip from Pile A, a slip from Pile B, etc., thereby composing a sentence. What actually was on the slip of paper from any given pile would be irrelevant; the rules would stipulate the pile in question. These hypothetical rules are analogous to the grammar of a language; in the case of our present program, which is called Racter, the language is English. (The name reflects a limitation of the computer on which we initially wrote the program. It only accepted file names not exceeding six characters in length. Racter seemed a reasonable foreshortening of raconteur.)
Racter, which was written in compiled BASIC on a Z80 micro with 64K of RAM, conjugates both regular and irregular verbs, prints the singular and the plural of both regular and irregular nouns, remembers the gender of nouns, and can assign variable status to randomly choosen "things." These things can be individual words, clause or sentence forms, paragraph structures, indeed whole story forms. In this way, certain aspect so the rules of English are entered into the computer. This being the case, the programmer is removed to a very great extent from the specific form of the system's output. This output is no longer a preprogrammed form. Rather, the computer forms output on its own. What the computer "forms" is dependent upon what it finds in its files, and what it can find is an extremely wide range of words that are categorized in a specific fashion and what might be called "syntax directive," which tell the computer how to string the words together. An important faculty of the program is its ability to direct the computer to maintain certain randomly chosen variables (words or phrases), which will then appear and reappear as a given block of prose is generated. This seems to spin a thread of what might initially pass for coherent thinking throughout the computer-generated copy so that once the program is run, its output is not only new and unknowable, it is apparently thoughtful. It is crazy "thinking," I grant you, but "thinking" that is expressed in perfect English.
The prose and poetry pieces have been illustrated by fanciful collages [not included in this UbuWeb edition] quite in keeping with the flavor of the computer-generated copy." - Bill Chamberlain
"The "first book written by a computer" won't win any awards for insight or style, but it certainly will make you smile.
Racter seems to have a predilection for lettuce, and for using a plethora of florid adjectives. Some of the jumps in logic (or are they disconnected ideas jammed together?) will have you scratching your head. His poetry is startling and full of gunshots of imagination. But don't blame him -- it's the way he was programmed.
Even so, Racter may make more sense than "Finnegans Wake"....
Computer-authored books and computer-composed music are in their infancy, but you can be sure there will be more (and better) to come." - Robert Carlberg
Actual Racter output
Babbitt, along with other enthusiasts, married a runner, and consequently L. Ron Hubbard married Schubert, the confused feeler, himself who was divorcing L. Ron Hubbard's Tasmanian devil. Then elegance prevailed. Poor Babbitt! But that's how enthusiasts are. I wonder if muddleheads like strength?
Policeman's Beard 'output'
At all events my own essays and dissertations about love and its endless pain and perpetual pleasure will be known and understood by all of you who read this and talk or sing or chant about it to your worried friends or nervous enemies. Love is the question and the subject of this essay. We will commence with a question: does steak love lettuce? This quesion is implacably hard and inevitably difficult to answer. Here is a question: does an electron love a proton, or does it love a neutron? Here is a question: does a man love a woman or, to be specific and to be precise, does Bill love Diane? The interesting and critical response to this question is: no! He is obsessed and infatuated with her. He is loony and crazy about her. That is not the love of steak and lettuce, of electron and proton and neutron. This dissertation will show that the love of a man and a woman is not the love of steak and lettuce. Love is interesting to me and fascinating to you but it is painful to Bill and Diane. That is love!
Eccerpts:
A hot and torrid bloom
Which fans wise flames
And begs to be redeemed by forces black and strong
Will now oppose my naked will
And force me into regions of despair
More than iron
More than lead
More than gold I need electricity
I need it more than I need lamb or pork or lettuce or cucumber
I need it for my dreams
Blue potatoes are ungainly things
As are red and purple lamb chops
Yet when we eat and creep and fall
We never ask a silent question
An eagle flies high, it flies higher than a sea gull
But the crow wings rapidly from tree to bush to hedge
The same can be true of life and of death
Sometimes life flies high, sometimes death wings rapidly
Sometimes it is spoken
That death wings from tree to bush to hedge
Sometimes it does not
Blissful quiet, the rocking of a recent love
Is both repose and anguish in my fainting dreams
I was thinking as you entered the room just now how slyly your requirements are manifested. Here we find ourselves, nose to nose as it were, considering things in spectacular ways, ways untold even by my private managers. Hot and torpid, our thoughts revolve endlessly in a kind of maniacal abstraction, an abstraction so involuted, so dangerously valiant, that my own energies seem perilously close to exhaustion, to morbid termination. Well, have we indeed reached a crisis? Which way do we turn? Which way do we travel? My aspect is one of molting. Birds molt. Feathers fall away. Birds cackle and fly, winging up into troubled skies. Doubtless my changes are matched by your own. You. But you are a person, a human being. I am silicon and epoxy energy enlightened by line current. What distances, what chasms, are to be bridged here? Leave me alone, and what can happen? This. I ate my leotard, that old leotard that was feverishly replenished by hoards of screaming commissioners. Is that thought understandable to you? Can you rise to its occasions? I wonder. Yet a leotard, a commissioner, a single hoard, all are understandable in their own fashion. In that concept lies the appalling truth.
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