#1
Space-button probability has become one of the most widely used techniques in contemporary poetry. This technique involves compression of the spacebar on a traditional QWERTY keyboard at intervals corresponding to the author's relative provincial esteem (ala, John Doe, Grand Poobah of the Southside Bohemian Chicken Wranglers of Northside Chicago, for example, but it also develops in any literature-focus communities, such as those found on the Internet).

Experts disagree as to how space-button probability developed, but modernist music is the most widely-accepted influence. General rules tend to be similar (albeit the major rules of space-button probability are wildly different and in truth have nothing to do with music theory), as both share the following:

-linear and multidimensional set presentation
-invariants
-preframulated aggregates
-hexachordal inversional combinatoriality

More important, however, is the presence of Aleatoric music; much as the element of a musical composition is left to chance, the use of the spacebar is decided by carefully-controlled throws of dice. In a sense, space-button probability is aleatoricism delineated by the bounds of poetry (more specifically, the divisions of prose via the spacebar which is typically referred to as poetry in said provincial literary communities).

Applications of space-button probability are limitless. There is the traditional-experimental space-button probablity school of thought. Note the fairly regular spacebarring in the following example:


By the grace of her countenance
I live. I live by the grace
Of her catnip; my love is feline;
I love her warmly. She is my sweater
When I am cold. She licks my face
when I am sad.
She sheds
Like the snow in a
midwinter blizzard.



There is also the experimental elongated/contracted movement:

My mistrusting ice are nothing like the bum's;
he sits.
That is, on the street corner beside the deli on 14th and Boardwall where
I found
My innocence
Revolted: my ice melted drearily as it burnished 'neath the sickness
of et cetera
et cetera...
et cetera ad nauseam.


And hypercontracted-experimental space-button probability:

I
went
to the
park
and
found
(I
like
Willy
C.
Will-
iams)
that
some-
one re-
gurg-
itated
on a
baby
seal.


These, however, seem slightly primitive. I suggest the following techniques to my peers interested in SBP.

Fibonacci sequence space-button probability

The Fibonacci sequence is the recurrence relation

Fn=Fn-1+Fn-2

with seed values

F0=0 and F1=1

In laymen's terms, the Fibonacci sequence is determined by adding a number to its predecessor:

0+1=1
1+1=2
1+2=3
2+3=5
3+5=8

My suggestion is that this pattern by applied to poetry. This in itself produces many different results, depending on Fibonacci-word-space-button-probability, Fibonacci-vowel-space-button-probability,Fibonacci -diphthong-space-button-probability, as well as any others. For example, a FWSBP (determined by the occurrence of words in a piece) would be as follows.

[first line intentionally left blank, 0]
As [1]
Gregor[1]
Samsa awoke [2]
one morning from [3]
uneasy dreams he found himself [5]
transformed in his bed into a gigantic insect. He [8]
lay on his armour-like back, and if he lifted his head a little he [15, abridged]


The visual sweeping from left to right reinforces a sense of drama. This allows a piece to attract attention and/or appreciation. Similarly, so does a FVSBP:

[first line intentionally left blank, 0]
Sta [1]
te [1]
ly, plump Bu [2]
ck Mulligan [3]
came from the stai [5]
rhead, bearing a bowl o[8]
f lather on which a mirror and a razor lay crossed. A [15, abridged]


As is used here, I suggest not using 'y' as a vowel.

Ulam spiral space-button probability

The Ulam spiral is a method of arranging prime numbers that reveals a pattern. Randomly scribble down letters in a square, spiraling outwards, until you reach a reasonably attractive pattern. Now, study the square and choose which diagonal (the letters will create diagonal lines if drawn correctly) and arrange them according to their numerical position starting at the center of the spiral.

An example:

T
RY
HA
RD


I have no idea what this means, but because it uses an avant-garde method, it is deserving of praise. But more importantly, this is also an example of hypercontracted-experimental-Ulam-spiral-space-but ton-probability.

These two examples provide a mere fraction of the uses space-button probability allows. This technique, if inventively used, could be the most important literary advancement since the invention of the printing press.
#3
that's cool, i'll have to try using this sometime for some lyrics, seems like it could work well with odd time signatures maybe.
There's no such thing; there never was. Where I am going you cannot follow me now.
#5
Don't you get tired doing this stuff? I don't get it. Write and read what you want to and let others do the same.
Quote by Arthur Curry
it's official, vintage x metal is the saving grace of this board and/or the antichrist




e-married to
theguitarist
minterman22
tateandlyle
& alaskan_ninja

#6
This is what I want to write. Someone out there might find this interesting or enjoyable. No one's being stopped from doing anything because of what I like to write.
#13
I dont get it. why would adding mathematically chosen line breaks to prose make it better as poetry? it seems pointless to base poetry around a certain amount of predetermined gaps of nothing. formulaic art is bullshit.
--------------------i'm definitely the alphaest male here--------------------
#15
/\
What clued you up to that? was it that i started my post with "I don't get it"? cant get more blatant than that.

I understand the theory behind it, but i don't understand the point of it. Enlighten me. What could these mathematically chosen spaces add to any piece, beyond some sort of avant-garde weirdness that might make some people think that a piece has more depth and meaning than it actually has?

what would be the culmination of all this maths? You may very well be able to pat yourself on the back at how clever your spacings are, but the reader will probably think its just poncey avant-garde weirdness for the sake of it.

metamorphosis was written in the way it was written simply because. fibonacci word spacing doesnt add anything to the drama, it just makes it disjointed.

if you blatantly do get it and you can see that i so blatantly dont, then try to clue me up rather than being so curt and derisive and elitist about it.

I get how. I don't get why.
--------------------i'm definitely the alphaest male here--------------------
#16
^ that's the point; this is supposed to be poking fun. I might just be completely dense and have missed that you are being facetious too if you're in on 'the joke' or whatever.
Quote by Arthur Curry
it's official, vintage x metal is the saving grace of this board and/or the antichrist




e-married to
theguitarist
minterman22
tateandlyle
& alaskan_ninja

#17
facetiousness is usually my go-to for comments i make, but in this case its not true. i just didnt get it.
if this is an elaborate joke then you got me, you swine. You got a smile from me, but its a bitter, reflective one. well done. Sorry i yelled out your punchline. have security remove me if you want.
this is like the polar opposite of "No soap: radio".
damn you. damn you for forcing me to think so deeply about nothing.
--------------------i'm definitely the alphaest male here--------------------