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WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Software Art: Image
NYUAD - Interactive Media Syllabus Software Art: Image NYU Abu Dhabi — Interactive Media SOFTWARE ART: IMAGE IM-UH 2115 Fall 2017 COURSE SYLLABUS Instructor Pierre Depaz ([email protected]) Meeting Time Tuesday — 10:25AM - 1:05PM Thursday — 11:50AM - 1:05PM Classroom C3-153 Office C3-032 Office Hours Open-door policy Credits 2 Class website https://github.com/pierredepaz/software-art-image !1 of !12 NYUAD - Interactive Media Syllabus Software Art: Image This course counts towards the following NYUAD degree requirement: • Multidisciplinary Minors > Interactive Media • Majors > Art and Art History Course Description Although computers only appeared a few decades ago, automation, repetition and process are concepts that have been floating around artists’ minds for almost a century. As machines enabled us to operate on a different scale, they escaped the domain of the purely functional and started to be used, and understood, by artists. The result has been the emergence of code-based art, a relatively new field in the rich tradition of arts history that today acts as an accessible new medium in the practice of visual artists, sculptors, musicians and performers. Software Art: Image is an introduction to the history, theory and practice of computer-aided artistic endeavours in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, how it shaped a specific aesthetic language and what it reveals about technology and art today. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art. -
Conspiracy Lecture V2, ROTTERDAM, Curated by Stephen Kovats
Conspiracy Lecture V2, ROTTERDAM, curated by Stephen Kovats Introduction by Stephen Kovats TANGENT_CONSPIRACY V2_Institute for the Unstable Media 20.00, Friday, December 01, 2006 www.v2.nl Long before a clandestine military-academic collaboration created the 1960's ARPANET the speculative mechanisms of conspiracy theories have fueled global events. The internet and it's growing Web 2.0 counterpart have moved beyond the realm of information exchange and redundancy to become the real-time fora of narrative construction. Fuelling and fanning all forms of popular speculation the net now creates its own post-modern mythologies of world domination, corporate control and government induced fear fetishism. If the net itself is not a conspirative construct designed to control and influence global intellectual expression then, rumour has it, it plays the central role in implying as much. Has the internet now become a self-fullfiling prophecy of its own destructive speculation? V2_, in collaboration with the Media Design group of the Piet Zwart Institute, invites you to join Florian Cramer, Claudia Borges, Hans Bernhard and Alessandro Ludovico in an evening of net-based conspiracy built upon abrasive speculation, conjectural divination and devious webbots. ------------------ Alessandro Ludovico, editor in chief of Neural, has been eavesdropped upon electronically for most of his life due to his hacktivist cultural activities. Promoting cultural resistance to the pervasiveness of markets, he is an active supporter of ideas and practices that challenge the flatness of capitalism through self-organized cooperation and cultural production. Since 2005 he has been collaborating with Ubermorgen and Paolo Cirio in conceptually conspiring against the smartest marketing techniques of major online corporations. -
Press Release "Gwei - Google Will Eat Itself"
PRESS RELEASE "GWEI - GOOGLE WILL EAT ITSELF" Vienna, Bari, 26 December 2005 We generate money by serving Google text advertisments on a network of hidden Websites. With this money we automatically buy Google shares. We buy Google via their own advertisment! Google eats itself - but in the end "we" own it! By establishing this model we deconstruct the new global advertisment mechanisms by rendering them into a surreal click-based economic model. After this process we hand over the common ownership of "our" Google Shares to the GTTP Ltd. [Google To The People Public Company] which distributes them back to the users (clickers) / public. A bit more in detail One of Google's main revenue generators is the "Adsense"* program: It places hundreds of thousands of little Google text-ads on websites around the world. Now we have set up a vast amount of such Adsense-Accounts for our hidden Web-Sites. For each click we receive a micropaiment from Google. Google pays us monthly by cheque or bank-transfer to our Swiss e-banking account. Each time we collected enough money, we automatically buy the next Google share [NASDAQ: GOOG, todays value ~430.- USD] - we currently own 40/forty Google Shares. Important: Google Will Eat Itself works by using a social phenomenon rather than depending on a purely technical method (for example a simple click-farm). Because of this social dimension empowered by technology, Google is not able to fight GWEI and it`s franchises by using their regular counter-fraud methods. GWEI - Google Will Eat Itself is to show-case and unveil a total monopoly of information , a weakness of the new global advertisment system and the renaissance of the “new economic bubble" - reality is, Google is currently valued more than all Swiss Banks together (sic!). -
CAN ART HISTORY DIGEST NET ART? Julian Stallabrass from Its
165 CAN ART HISTORY DIGEST NET ART? Julian Stallabrass From its beginnings, Internet art has had an uneven and confl icted relation- ship with the established art world. There was a point, at the height of the dot-com boom, when it came close to being the “next big thing,” and was certainly seen as a way to reach new audiences (while conveniently creaming off sponsorship funds from the cash-rich computer companies). When the boom became a crash, many art institutions forgot about online art, or at least scaled back and ghettoized their programs, and that forgetting became deeper and more widespread with the precipitate rise of con- temporary art prices, as the gilded object once more stepped to the forefront of art-world attention. Perhaps, too, the neglect was furthered by much Internet art’s association with radical politics and the methods of tactical media, and by the extraordinary growth of popular cultural participation online, which threatened to bury any identifi ably art-like activity in a glut of appropriation, pastiche, and more or less knowing trivia. One way to try to grasp the complicated relation between the two realms is to look at the deep incompatibilities of art history and Internet art. Art history—above all, in the paradox of an art history of the contemporary— is still one of the necessary conduits through which works must pass as they move through the market and into the security of the museum. In examining this relation, at fi rst sight, it is the antagonisms that stand out. Lacking a medium, eschewing beauty, confi ned to the screen of the spreadsheet and the word processor, and apparently adhering to a discred- ited avant-gardism, Internet art was easy to dismiss. -
Hackerspaces
d WP4 | CASE STUDY Report: Hackerspaces Theme [ssh.2013.3.2-1][Social Innovation- Empowering People, changing societies] Project Full Title: “Transformative Social Innovation Theory project” Grant Agreement n. 613169 This project has received funding from the European Union’s Seventh Framework Programme for research, technological development and demonstration under grant agreement no 613169 Suggested citation: Sabine Hielscher, Adrian Smith, Mariano Fressoli (2015) WP4 Case Study Report: Hackerspaces, Report For the TRANSIT FP7 Project, SPRU, University oF Sussex, Brighton. Acknowledgements: We wish to thank everyone in the Hackerspace scene who helped us with our research, whether through interviews, welcoming us to Hackerspaces and events, or putting us in touch with others. We also thank our colleagues in the TRANSIT project, at SPRU, at UNQ and Fundación Cenit For their help and encouragement with the research. Finally, we thank the European Commission and their FP7 research programme For Funding the TRANSIT project. Date: 14 January 2015 Authors: Sabine Hielscher, Adrian Smith, Mariano Fressoli Contact person: Adrian Smith Table of contents 1 Introduction to Hackerspaces 2 Methodology 2.1 Researcher relations to the case 2.2 Methods 3 Analysis of transnational network(ing) 3.1 Transnational networking: Hackerspaces 3.2 Aspects of ‘innovation’ and ‘change’ of the transnational network(ing) 3.3 Aspects of empowerment and disempowerment of the transnational network(ing) 3.4 Other issues about the transnational networking 4 Local initiative -
The Fibreculture Journal Issue 18 2011
The Fibreculture Journal DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE Issue 18 : Trans edited by Andrew Murphie, Adrian Mackenzie and Mitchell Whitelaw The Fibreculture Journal is an Open Humanities Press Journal. The LOCKSS System has the permission to collect, preserve and serve this open access Archival Unit. The Fibreculture Journal is published under a Creative Commons, By Attribution-Non Commercial-No Derivative License. ISSN: 1449 – 1443 , Published in Sydney, Australia Fibreculture Publications/The Open Humanities Press 2011 The journal is peer reviewed as per section 4.3.4 of the Australian HERDC Specifications. About the Fibreculture Journal The Fibreculture Journal is a peer reviewed international journal, first published in 2003 to explore the issues and ideas of concern to the Fibreculture network. The Fibreculture Journal now serves wider social formations across the international community of those thinking critically about, and working with, contemporary digital and networked media. The Fibreculture Journal has an international Editorial Board and Committee. In 2008, the Fibreculture Journal became a part of the Open Humanities Press , a key initiative in the development of the Open Access journal community. The journal encourages critical and speculative interventions in the debate and discussions concern- ing a wide range of topics of interest. These include the social and cultural contexts, philosophy and politics of contemporary media technologies and events, with a special emphasis on the ongoing social, technical -
New Language Leader Upper Intermediate Wordlist Chronological
New Language Leader Upper Intermediate chronological New Language Leader Upper Intermediate Wordlist chronological Unit Headword Word Class German French Italian Example Sentence 1 actions speak phr Taten sagen mehr als les gestes sont plus i fattii dicono più delle The council believes that actions speak louder than words. louder than words Worte éloquents que les mots parole 1 aggressive adj aggressiv aggressif aggressivo Have you ever sent an aggressive email? 1 analyse v analysieren analyser analizzare Most recently, an experiment in 2011 at the University of Milan analysed the relationship between 721 social media users and found that 92 percent were connected by only four stages, or five degrees of separation. 1 anecdote n Anekdote anecdote aneddoto Anecdotes tell short interesting stories about a person or event. 1 appropriacy n Angemessenheit adéquation, justesse decenza Appropriacy of vocabulary: is it the right meaning and register? 1 be on the same phr auf derselben être sur la même sulla stessa lunghezza The two of them are on the same wavelength. wavelength Wellenlänge longueur d'ondes d'onda 1 bump into v zufällig treffen rencontrer par hasard incocciare, incontrare I bumped into one of my friend from school when I was per caso shopping in Paris. 1 catch up with v auf dem Laufenden rester au courant essere al corrente I can catch up with all the news from home. bleiben 1 communication n Kommunikationsfähigke communiquer bien comunicatività She became interested in communication skills while she skills iten was studying for her MBA at Edinburgh University. 1 concept n Konzept concept concetto The concept „Sic degrees of separation“ goes back to a 1929 book of short stories. -
Arbeit Und Nicht-Arbeit: Entgrenzungen Und Begrenzungen Von Lebensbereichen Und Praxen
www.ssoar.info Arbeit und Nicht-Arbeit: Entgrenzungen und Begrenzungen von Lebensbereichen und Praxen Herlyn, Gerrit (Ed.); Müske, Johannes (Ed.); Schönberger, Klaus (Ed.); Sutter, Ove (Ed.) Postprint / Postprint Sammelwerk / collection Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: Rainer Hampp Verlag Empfohlene Zitierung / Suggested Citation: Herlyn, G., Müske, J., Schönberger, K., & Sutter, O. (Hrsg.). (2009). Arbeit und Nicht-Arbeit: Entgrenzungen und Begrenzungen von Lebensbereichen und Praxen (Arbeit und Alltag: Beiträge zur ethnografischen Arbeitskulturenforschung, 1). München: Hampp. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-324607 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under Deposit Licence (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, non- Gewährt wird ein nicht exklusives, nicht übertragbares, transferable, individual and limited right to using this document. persönliches und beschränktes Recht auf Nutzung dieses This document is solely intended for your personal, non- Dokuments. Dieses Dokument ist ausschließlich für commercial use. All of the copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the above-stated vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder conditions of use. -
Geopolitical Subjectivity
Geopolitical Subjectivity Tomas Laurenzo School of Creative Media City University of Hong Kong Kowloon Tong, Hong Kong [email protected] Abstract The sociopolitical context has always been a “central Rhetorics conceived in geopolitically powerful contexts fail aspect” of artistic production, although it “long remained in allowing for the different relationships between art and poli- inconspicuous, or even invisible”. According to Frie- tics that appear in the periphery. This paper analyzes this from singer, “It took the great exertions of the context- a framework of cognitive capitalism. We identify a need for a oriented methods of modernism to return it to the field sociopolitical vocabulary in new media art rhetoric that takes of view, from which it was hidden, for the most part, by into account the geopolitical context. By reproducing the cen- the tendency of bourgeois art appreciation to oversee the ter–periphery model, peripheral art is reduced to a dichotomy social and historical embeddedness of an artifact or an proper of the modernizing discourse and to the arduous task of aesthetic approach.”[10] It is not, still, until the avant- developing a replacement of the stories that constitute "the gardes, that appears what Peter Bürger calls “a new art- other". Nevertheless, we argue that it is possible to assert the based praxis for life”, a reaction to the identification of existence of both a distinct reality and the parallel construction art being the objectification of the self-understanding of of a language that transcends the re-reading of international the bourgeoisie [4]. tendencies from a local or “localist” perspective. -
Selling and Collecting Art in the Network Society
PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members.