Generative art, whereby an algorithm is used either to generate texts according to a randomized scheme or to scramble and rearrange pre-existing texts, is currently one of the most innovative and robust categories of electronic literature. (Note 45) Philippe Bootz has powerfully theorized generative texts, along with other varieties of electronic literature, in his functional model that makes clear distinctions between the writer's field, the text's field, and the reader's field, pointing out several important implications inherent in the separation between these fields, including the fact that electronic literature introduces temporal and logical divisions between the writer and reader different from those enforced by print. (Note 46) Bootz also usefully points out that in a European context, hypertext has not been the dominant mode but rather textual generators and animated works, citing particularly the group of writers associated with A.L.A.M.O. (Atelier de Littérature Assistee par le Mathematique et les Ordinateurs, or Workshop of Literature Assisted by Mathematics and Computers), which includes among others Jean-Pierre Balpe, and the group with which he is associated, L.A.I.R.E (Lecture, Art, Innovation, Recherche, Écriture, or Reading, Art, Innovation, Research, Writing). (Note 47) Bootz has pioneered many seminal works of generative and animated literature dating from the 1980's, including recently La série des U (The Set of U) (Note 48), an elegant poem with text, pictures and programming by Bootz and music by Marcel Frémiot. The work generates a different text-that-is-seen (texte-à-voir) each time it is played through subtle variations in the timing at which the textual elements appear and the relation between the verbal text and the sonic component, which is not directly synchronized with the words but nevertheless gives the serendipitous impression of coordination through programmed meta-rules.