DOCSLIB.ORG

Ars Electronica 2003 Festival Für Kunst, Technologie Und Gesellschaft Festival for Art, Technology and Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ars Electronica 2003 Festival Für Kunst, Technologie Und Gesellschaft Festival for Art, Technology and Society Ars Electronica 2003 Festival für Kunst, Technologie und Gesellschaft Festival for Art, Technology and Society Organization Ars Electronica Center System AEC Ars Electronica Center Linz Administration & Technical Maintenance: Museumsgesellschaft mbH Christian Leisch, Christian Kneissl, Karl Schmidinger, Gerold Hofstadler Managing Directors Gerfried Stocker / Romana Staufer Architecture Scott Ritter Hauptstraße 2, A-4040 Linz, Austria Tel. +43 / 732 / 7272-0 Technical Expertise & Know-how Fax +43 / 732 / 7272-77 Ars Electronica Futurelab [email protected] Web Editor / Web Design www.aec.at/code Ingrid Fischer-Schreiber / Joachim Schnaitter ORF Oberösterreich Editors General Director Gerfried Stocker, Christine Schöpf Helmut Obermayr Editing Prix Ars Electronica Coordination Ingrid Fischer-Schreiber Christine Schöpf English Proofreading Prix Ars Electronica Organization lan Bovill, Elizabeth Ernst-McNeil Gabriele Strutzenberger, Judith Raab Graphic Design Europaplatz 3, A-4021 Linz, Austria Gerhard Kirchschläger Tel. +43 / 732 / 6900-0 Fax +43 / 732 / 6900-24270 Cover Subject [email protected] The CODE Logo is based on a design by Astrid http://prixars.orf.at Benzer and Elisabeth Schedlberger. A dictionary entry was used for the background text. Directors Ars Electronica By permission. From Merriam-Webster Online Gerfried Stocker, Ars Electronica Center Linz Dictionary ©2003 by Merriam-Webster, Christine Schöpf, ORF Oberösterreich Incorporated (www.Merriam-Webster.com). Producer All rights reserved. Katrin Emler Printing Gutenberg-Werbering Assistant Producer Manuela Pfaffenberger © 2003 bei den Autoren / the authors © 2003 für die abgebildeten Werke bei den Production Team Künstlern oder ihren Rechtsnachfolgern / Wolfgang Almer, Ellen Fethke, Ingrid Fischer- the artists and their legal successors. Schreiber, Marcus Lust, Dieter Mackinger, Photos used by permission Iris Mayr, Elisabeth Sachsenhofer, Klemens Maria Schuster Published by Hatje Cantz Verlag Curatorial Advisors Senefelderstraße 12 Ingrid Fischer-Schreiber, Iris Mayr, 73760 Osterfildern-Ruit Christiane Paul, Casey Reas Germany Technical Director Tel. +49/711/44050 Magnus Hofmüller Fax +49/711/4405220 Internet: www.hatjecantz.de Public Relations Distribution in the US Ulrike Ritter D.A.P., Distributed Art Publishers, Inc. Press 155 Avenue of the Americas Wolfgang Bednarzek Second Floor New York, NY 10013-1507 Ticketing & PR Assistent USA Sonja Panholzer Tel. +1 / 212 / 6271999 Marketing, Sponsoring Fax +1 / 212 / 6279484 Ursula Kürmayr, Doris Peinbauer ISBN 3-7757-1356-5 Consultant Jutta Schmiederer Printed in Austria Das Ars Electronica Center Linz Ars Electronica Center Linz & ist eine Einrichtung der Festival Ars Electronica are supported by: Stadt Linz. The Ars Electronica Linz Stadt Linz Center is an institution of the Land Oberösterreich municipality of Linz. Bundeskanzleramt/Kunstsektion Veranstalter / Organization: Ars Electronica Center Linz ORF Oberösterreich Mitveranstalter / Co-organizers: Universität für künstlerische und industrielle Gestaltung Linz Stadt Linz Land Oberösterreich Bundeskanzleramt/ Kunstsektion Gericom AG SAP AG Telekom Austria Bank Austria Creditanstalt ORF – Österreichischer Rundfunk Quelle AG Hewlett Packard Österreich voestalpine Österreichische Brauunion Sony DADC FESTO Mitsubishi Electric Microsoft Österreich Siemens Österreich Prix Ars Electronica wird unterstützt von / is supported by: Telekom Austria Prix Ars Electronica Additional Support: voestalpine AG BAWAG / P.S.K. Gruppe Österreichischer Kulturservice Stadt Linz Pöstlingberg Schlöss’l Land Oberösterreich Sony DADC Additional support for Ars Electronica and Prix Ars Electronica by Spring, 3Com, Lexmark, Austrian Airlines, KLM, Opel Günther, PANI Projection & Lighting, NRG Gstetner Contents Gerfried Stocker John Maeda CODE—The Language of Our Time . 10/12 The Infinite Loop . 168/172 Friedrich Kittler Casey Reas Code oder wie sich etwas Programming Media . 174/180 anders schreiben lässt . 15 Casey Reas C. Cohn / J. Grimmelmann Tissue . 186/188 Seven Ways in Which Casey Reas Code Equals Law . 20/26 MicroImage . 190/192 Peter J. Bentley Ben Fry The Meaning of Code . 33/36 Visually Deconstructing Code . 194/197 Howard Rheingold electrolobby | Virus in Fur . 200/200 The Battle over Control of Code is a Battle over Freedom . 40/43 Ben Fry / Casey Reas Processing . 206/210 Fred von Lohmann Meditations on Trusted Computing . 46/48 Steve Sacks bitforms gallery . 212/218 O. L. Tremetzberger / Radio FRO Daniel Rozin Towards a Society of Control? . 51/54 Trash Mirror 2002 . 222/223 A. Galloway / Runme.org . 224 E. Thacker Christiane Paul Protocol and Counter-Protocol . 57/60 CODeDOCII . 231/235 Marc Canter The Birth of MacroMind . 63/68 Prix Ars Electronica 2003 . 238 Leo Findeisen L. Mignonneau / C. Sommerer Some Code to Die for . 73/73 From the Poesy of Programming to Pierre Lévy Research as an Art Form . 242/250 Towards a Language of C. Sommerer / L. Mignonneau Collective Intelligence . 88/93 Mobile Feelings . 258/260 Florian Cramer James McCartney Exe.cut[up]able Statements: A Few Quick Notes … on The Insistence of Code . 98/104 Computers in Art and Music . 262/265 Erkki Huhtamo Fiona Raby WEB STALKER SEEK AARON . 110/119 Design Noir: The Secret Life Christiane Paul of Electronic Objects . 268/273 Public CulturalProduction Oliver Fritz Art(Software){ . 129/136 Printing Out Buildings . 279/285 Jonathan Norton CODE Exhibition _ electrolobby Code and Music: Technology and Richard Kriesche Creativity in Composing . 291/294 The Universal Datawork . 144/148 Richard Kriesche Pixelspaces _ DAMPF datawork: man . 152/154 H. Ranzenbacher / H. Hörtner Roman Verostko Pixelspaces 2003 – Sensory Environments – Epigenetic Art Revisited . 156/162 Immaterial Interfaces . 298/299 Ars Electronica 2003 Scott deLahunta Gruppe F.O.K. DAMPF Lab . 301/302 Teleklettergarten . 384/384 Scott deLahunta MARS Open Source Choreography? . 304/311 »digital sparks« . 385/386 Tmema / Jaap Blonk / Movieline . 388/388 Joan La Barbara Japanese Animation Messa di Voce . 318/320 ACA Media Arts Festival . 393 Marcel.lí Antúnez Roca I. Cornaro / H. Chong / D. Kluge POL. A Mechatronic Show . 322/324 NOT TO SCALE . 394/395 Adrian David Cheok, Hirokazu Kato and Ars Electronica Futurelab Ars Electronica Center Exhibition Gulliver’s Box . 326/328 M. Aschauer / N. Pfaffenbichler / Justin Manor L. Schreiber Key Grip . 330/331 24! . 396 /398 x-space / Heimo Ranzenbacher Marc Downie co.in.cide—The Third Place . 332/334 Music Creatures . 400/402 Electric Indigo / Mia Zabelka Thomas Lorenz Colophony Circuit . 336/336 Elevated Space . 404/405 Alexei Shulgin John Gerrard 386dx . 337 Networked Portrait . 408/409 Principles of Indeterminism Crispin Jones Social Mobiles . 411/412 Heimo Ranzenbacher Principles of Indeterminism . 338/340 James Patten / Ben Recht Audiopad . 414/415 Gerda Palmetshofer Geste Electronique . 343/344 Kenji Iguchi Little Red MR . 418/420 Paul D. Miller Fluid Neon Bright Shadows . 345/348 Sachiko Kodama / Minako Takeno Protrude, Flow . 422/424 Remix of the Remixes . 353 P. Gemeinböck / R. Blach / Floating Points–OMV Klangpark . 359/359 N. Kirisits Tim Cole Uzume . 426/427 Koan – Early History . 360/361 Franz Fischnaller Tim Didymus CityCluster . 428/429 Floating Points – Dark Symphony . 363/364 A. Benjamin Spaeth agf:::Antye Greie raum.art . 430/431 How Code Made its Way Heimo Ranzenbacher into My Music . 366/367 Humphrey . 432/433 Heimo Ranzenbacher CAMPUS Interfacelifting . 434/435 Giaco Schiesser Working on and with Eigensinn . 368 /371 Biographies . 436 Cecilia Hausheer Media | Art | Education . 374/374 CODE—the Language of Our Time Gerfried Stocker Is the language of the computers becoming the lingua franca of the global Information Society? Software is omnipresent; digital codes are the materia prima of our modern, global Infor- mation Society. And it is precisely its unlimited capacity to be programmed that turns the computing machine into the unique medium that has so successfully and so mightily pervaded all aspects of our life—one that can simultaneously function as an implement of war, economic tool and artistic instrument. CODE = LAW Software sets the standards and norms, and determines the rules by which we commu- nicate in a networked world, do business, and gather and disseminate information. Upon closer examination, the global digital network consists not so much of computers and data transmission lines as of mutually compatible communication protocols. Cyberspace as a social sphere and a new type of public domain derives its uniqueness not as a result of the data that are stored or exchanged within it abut rather from the specific possibilities and impossibilities of the program codes of TCP-IP, of the browsers and chat rooms, of the encryption programs. The Internet is no longer a lawless, chaotic, disor- ganized no-man’s-land. It has long since become the target of substantial, systematic efforts aimed at rigorous regulation and control. Not so very long ago, it was above all the inter- ests of the market economy that could function only under controlled conditions; since September 11, 2001, though, it is first and foremost the interests of homeland security that have set the tone. Copyright and privacy are leading slogans in the fight to achieve a knowledge-driven society. How strong is the socially regulative and normative power of the software monopoly actually? If code assumes the status of law, which court offers us a forum in which to challenge it? To whom do we go to demand our rights?
Load more

Recommended publications
  • The Aesthetic Interface
    DETAILED ADVANCE PROGRAMME The Aesthetic Interface MAY 9TH - 12TH LOCATION: STORE AUD. IT-HUSET, IT-PARKEN, AARHUS UNIVERSITET MAY 9TH, WEDNESDAY 9.30-17.00 This day of the conference will discuss the interface in aes- thetic and historical terms. 9.30-12.35 INTERFACE ARCHEOLOGY • Erkki Huhtamo: Multiple Screens – Intercultural Ap- proaches to Screen Practice(s). Abstract: We associate screens as information surfaces with western technological achievements and media cultural hegemony. The fact that similar screens are observed and manipulated in all cor- ners of the world is taken as a sign of the increasing homogeniza- tion of culture; a ‘global screen practice’ seems to be in the mak- ing. Still, although they may not have used the word screen, dif- ferent cultures have developed “screen practices” in very diverse cultural contexts for hundreds and even thousands of years. From the shadow theatre to the traditions of visual storytelling, screens have been used in countless forms, and associated with complex social, economic and ideological issues. Do these tradi- tions play any role at all when it comes to understanding contem- porary high-tech screen practices? Is there anything we could 1 possibly learn from studying them? This paper proposes a media- archaeological approach to understanding screens as intercul- tural information surfaces. Drawing on fields like visual anthro- pology and comparative cultural studies, it looks at screens from an extended perspective, making a contribution to “screenology”, a hypothetical field of study. Bio: Erkki Huhtamo is a media archaeologist, writer, and exhibition curator. He was born in Helsinki, Finland (1958) and works as Professor of Media History and Theory at the University of Cali- fornia Los Angeles (UCLA), Department of Design | Media Arts.
    [Show full text]
  • Starred Articles
    GKCA Update st th 1 to 30 June Starred Articles 05 CII announces 10-point plan for economic revival June Economy > GDP India The Confederation of Indian Industry (CII) voiced its concern over the stagnant state of the Indian economy and in a bid to rescue her, has unveiled a 10-point agenda for its revival. The remedies include fast-tracking the implementation of Goods and Services Tax (GST) and easing of FDI (foreign direct investment) regulations in aviation and other sectors. Addressing a press conference on 5th June 2012, CII President, Adi B. Godrej, said that the primary concern for the nation was its GDP growth rate which was a mere 5.37 per cent in the last quarter was lowest in nine years. Some of the important reform to improve GDP growth as suggested by him are - early introduction of GST, the Government and the RBI inclusion of a strong monetary stimulus, correcting the current account deficit by encouraging exports and containing imports, arresting rupee slide, reducing subsidies, implementing financial sector reforms and removing bottlenecks in infrastructure growth. 06 Venus Transits between Sun and Earth June World > Space Planet Venus passed directly between the Sun and Earth on 6 June 2012, an astronomical rarity that sky watchers were eager to witness. Such a transit will not occur until 2117. The Transit of Venus, as it is called, appeared like a small dot on the Sun's elaborate circumference. This transit, which bookended a 2004-2012 pair, began at 6:09 p.m. EDT (2209 GMT) and lasted for six hours and 40 minutes.
    [Show full text]
  • February 2010
    LOVE, Romance & Guilty Pleasures 805Living-Society"Firepit"Feb'10:Layout 1 1/11/10 11:13 AM Page 1 At Sherwood, mere moments on July 2 PARTY OF TWO, STANDING RESERVATION. the terrace can feel like a special New p Go ah occasion. Lush fairways and rugged $500,0 natural landscapes combine to both chang from m soothe and exhilarate your senses. that tim Spectacular vistas change dramatically Augus through the day and through the seasons. Revise Pickup There is a quiet satisfaction, too, job #4 in owning a family home created for March the generations – architecturally pure, Revise graciously proportioned, masterfully through th executed. Behind Sherwood's storied Add n gates, life's simple pleasures can Janua Add n become wonderful events. For information about custom homesites available from $500,000, new residences offered from the high $1,000,000’s or membership in Sherwood Lake Club please call 805-373-5992 or visit www.sherwoodcc.com. The Sherwood Lake Club is a separate country club that is not affiliated with Sherwood Country Club. Purchase of a custom homesite or new home does not include membership in Sherwood Country Club or Sherwood Lake Club or any rights to use private club facilities. Please contact Sherwood Country Club directly for any information on Sherwood Country Club. Prices and terms effective date of publication and subject to change without notice. CA DRE #01059113 A Community 2657-DejaunJewelers.qxd:2657-DejaunJewelers 1/6/10 2:16 PM Page 1 WHY SETTLE FOR LESS THAN PERFECTION The Hearts On Fire Diamond Engagement Ring set in platinum starting at $1,950 View our entire collection at heartsonfire.com Westfield Fashion Square | Sherman Oaks | 818.783.3960 North Ranch Mall | Westlake Village | 805.373.1002 The Oaks Shopping Center | Thousand Oaks | 805.495.1425 www.dejaun.com play in the past livelive inin thee presentpresent PismoPismo BeachBeach is thethhe originalorigig nal “wish“wwish youyo were here” destination on the Central CoCoast.oastast It’It’ss ca calledlled ClaClassicssic CalifCaliforniaornia ffor a reason.
    [Show full text]
  • Tenino Parade Celebrates Completion of Capstones
    Stepping Up for Cure The Agony of / Main 14 Lewis County Firefighters Train for Massive Stair Climb / Life 1 Defeat $1 Early Week Edition Tuesday, Reaching 110,000 Readers in Print and Online — www.chronline.com Feb. 3, 2015 Hot-Handed Ony National Problem Loggers Down Mules as C2BL Teams Local Frozen Food Company Hampered Jockey for Playoff Positioning / Sports 2 by Ongoing Port Slowdown / Main 3 Broker County Hopes to Recoup $800,000 Breaks Investment in Former Ammo Plant Super Bowl FINANCIAL IMPACT: Nosler The sudden closure of a Lewis County commission- nition manufacturer that ended Dreams Packwood ammunition factory ers in 2009 approved a loan of up being bought by Nosler of Will Pay on Lease for Two in January not only left 17 peo- $300,000 — which later be- Bend, Oregon, in 2013. More Years After Closing ple searching for a job, but it has came a grant — and another Nosler shuttered the plant for County Packwood Facility Lewis County officials looking for $800,000 to improve and in January, leaving buildings into how they can recoup their build two separate buildings at tailor-made for manufactur- Assessor By Christopher Brewer investment into the facility on a the Packwood Business Park for ing suddenly unused. The East [email protected] long-term basis. Silver State Armory, an ammu- please see AMMO, page Main 12 OUT OF LUCK: Centralia Woman Hoped to Attend Big Game, But Super Bowl Tickets Never Materialized Tenino Parade Celebrates By Dameon Pesanti [email protected] Dianne Dorey bought her Super Bowl tickets less than Completion of Capstones five minutes after the Se- ahawks won the NFC Champi- onship Game.
    [Show full text]
  • Click to Download
    Volume 8, Number 8 Original Music Soundtracks for Movies & Television Rock On! pg. 10 LOVE thEBOOB TUBE Cool new music for Alias, Boomtown, Monk, Carnivàle, Penn & Teller’s B.S. FSM picks 100+ great great TTV themes plus Indiana Jones JO JOhN WIllIAMs’’ FOR FORtuNE an and GlORY Dragonslayer on DVD WORKING WORKING WIth A AlEX NORth CD Reviews A ALL THE L LAtEST $4.95 U.S. • $5.95 Canada CONTENTS SEPTEMBER 2003 DEPARTMENTS COVER STORY 2 Editorial 20 We Love the Boob Tube The Man From F.S.M. Video store geeks shouldn’t have all the fun; that’s why we decided to gather the staff picks for our by-no- 4 News means-complete list of favorite TV themes. Music Swappers, the By the FSM staff Emmys and more. 5 Record Label 24 Still Kicking Round-up Think there’s no more good music being written for tele- What’s on the way. vision? Think again. We talk to five composers who are 5 Now Playing taking on tough deadlines and tight budgets, and still The Man in the hat. Movies and CDs in coming up with interesting scores. 12 release. By Jeff Bond 7 Upcoming Film Assignments 24 Alias Who’s writing what 25 Penn & Teller’s Bullshit! for whom. 8 The Shopping List 27 Malcolm in the Middle Recent releases worth a second look. 28 Carnivale & Monk 8 Pukas 29 Boomtown The Appleseed Saga, Part 1. FEATURES 9 Mail Bag The Last Bond 12 Fortune and Glory Letter Ever. The man in the hat is back—the Indiana Jones trilogy has been issued on DVD! To commemorate this event, we’re 24 The girl in the blue dress.
    [Show full text]
  • Dot and Line PART2 Week7
    Dot and Line + Stereopsis Week 7 https://www.youtube.com/watch?v=n8TJx8n9UsA Cybernetic Serendipity Computer art Digital art Virtual artworks New vocabulary: erase # delete ‘erasure is to line what stains is to drawing” = ‘deleting’ is to algorithm (or code). Rather than points and dots, pixels, the smallest physical elements of a digital display device, were created as squares. Discussion: are pixels square or round? Russel Kirsch – the first digital image 1957 “Computer graphics are pictures and films created using computers. Usually, the term refers to computer-generated CG andCGI image data created with help from specialized graphical hardware and software.” “The term was coined in 1960, The term computer graphics by computer graphics refers to several different things, researchers Verne Hudson and for example: William Fetter of Boeing. It is 1.the representation and manipulation of image data by a often abbreviated as CG, computer though sometimes referred to 2.the various technologies used as computer-generated to create and manipulate images imagery (CGI).” 3.the sub-field of computer science which studies methods for digitally synthesizing and * sometimes CG means Character manipulating visual content, see Generator” study of computer graphics (1977) The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago. For more information on the lab, visit our website -- www.evl.uic.edu and Larry Cuba at www.well.com/user/cuba “Once he had landed the bid to make the short animated sequence, he turned to DeFanti (Tom De Fanti, CALIT2), whose lab had worked already on one film (a forgettable 1974 thriller, "UFO: Target Earth") and was becoming known for its Graphics Symbiosis System, a programming language DeFanti had developed at Ohio State and gave the very-'70s acronym GRASS.
    [Show full text]
  • San Diego Public Library New Additions May 2011
    San Diego Public Library New Additions May 2011 Adult Materials 000 - Computer Science and Generalities 100 - Philosophy & Psychology California Room 200 - Religion CD-ROMs 300 - Social Sciences Compact Discs 400 - Language DVD Videos/Videocassettes 500 - Science eAudiobooks & eBooks 600 - Technology Fiction 700 - Art Foreign Languages 800 - Literature Genealogy Room 900 - Geography & History Graphic Novels Audiocassettes Large Print Audiovisual Materials MP3 Audiobooks Biographies Music Scores Newspaper Room Fiction Call # Author Title [MYST] FIC/ALEXANDER Alexander, Bruce Murder in Grub Street [MYST] FIC/ANABLE Anable, Stephen A Pinchbeck bride [MYST] FIC/BAUER Bauer, Belinda Darkside [MYST] FIC/BLOCK Block, Lawrence. A drop of the hard stuff : a Matthew Scudder novel [MYST] FIC/BRANDRETH Brandreth, Gyles Daubeney Oscar Wilde and the vampire murders [MYST] FIC/CAMPBELL Campbell‐Slan, Joanna. Photo, snap, shot : a Kiki Lowenstein mystery [MYST] FIC/COLE Cole, Julian. Felicity's gate : a thriller [MYST] FIC/COONTS Coonts, Deborah. Lucky stiff [MYST] FIC/CORLEONE Corleone, Douglas. Night on fire [MYST] FIC/DELANY Delany, Vicki Among the departed [MYST] FIC/DOUDERA Doudera, Vicki A house to die for [MYST] FIC/EDWARDS Edwards, Martin The hanging wood : a Lake District mystery [MYST] FIC/ELKINS Elkins, Aaron J. The worst thing [MYST] FIC/ERICKSON Erickson, K. J. Third person singular [MYST] FIC/FOWLER Fowler, Earlene. Spider web [MYST] FIC/GHELFI Ghelfi, Brent The burning lake : a Volk thriller [MYST] FIC/GOLDENBAUM Goldenbaum, Sally. The wedding shawl [MYST] FIC/GRAVES Graves, Sarah. Knockdown : a home repair is homicide mystery [MYST] FIC/HALL Hall, M. R. The redeemed [MYST] FIC/HAMRICK Hamrick, Janice. Death on tour [MYST] FIC/HARRIS Harris, Charlaine.
    [Show full text]
  • Temporary Software Art Factory Festival for Software Art and Cultures
    README IOO TEMPORARY SOFTWARE ART FACTORY DORTMUND 2OO5 2OO5 DORTMUND This book is published as a part of README 100 — Temporary Software Art Factory Festival for Software Art and Cultures http://readme.runme.org Organised by: Hartware MedienKunstVerein, Dortmund, Germany, 2005 Hosted by: Stadt- und Landesbibliothek Dortmund City and State Library Dortmund, Germany November 4–5, 2005 Edited by: Olga Goriunova Graphic Design: Kirill Iloushenko Cover photo: Boris Ignatovich Herstellung und Verlag: Books on Demand GmbH, Norderstedt. © 2005: the authors, the artists, Readme 100 and Hartware MedienKunstVerein ISBN 3–8334–4369–3 Hartware MedienKunstVerein Guentherstr. 65 44143 Dortmund T +49-231-534 63 607 http://www.hmkv.de [email protected] TABLE OF CONTENTS (07) Maximum emotions for minimum budget! Readme 100 software art factory (09) Inke Arns, Francis Hunger: The Clean Rooms’ Dirty Secret. «Temporary Software Art Factory». Readme 100 in Dortmund, Germany, 2005 (16) Olga Goriunova, Alexei Shulgin: Interfacing Art to Art, Audience and Culture and Vice Versa (25) Alessandro Ludovico: Spam, the Economy of Desire (41) Christophe Bruno: Cosmolalia (57) Renate Wieser, Julian Rohrhuber: Part one.The Invisible Hand Part two.The Invisible Hand Machine (73) Special Guest: Reject Me. State Scrounging as Means of Production (78) Leonardo Solaas: Outsource me! Eric Londaits: Go-Logo (94) Yves Degoyon, elpueblodechina, Sergio Moreno, Jaume Nualart and others: MapOMatix (105) Javier Candeira: Towards a Permanently Temporary Software Art Factory. (Notes for
    [Show full text]
  • MCOM 271: Introduction to Interactive Environments
    WINONA STATE UNIVERSITY PROPOSAL FOR A NEW COURSE This form is to be used to submit a proposal for a new undergraduate or graduate course. Every item on this form must be completed prior to submission to A2C2. The department proposing a new course must include a Financial and Staffing Data Sheet and a New and Revised Course and Program Approval Form with the department chairperson’s and Dean’s signatures. Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular changes. Department Mass Communication Date 02/18/2014 271 Introduction to Interactive environments 3 Course No. Course Title Credits* This proposal is for a(n): XXXX Undergraduate Course ______ Graduate Course Is this course for USP? Yes** __X__ No Is this course for GEP? ____Yes** __X__ No List all Major Codes to which this proposal applies as a required course: MCTM (new major corde) List all Major Codes to which this proposal applies as an elective course: List all Minor Codes to which this proposal applies as a required course: List all Minor Codes to which this proposal applies as an elective course: MCOM Prerequisites None Grading method XXXX Grade only ______ P/NC only ______ Grade and P/NC Option Frequency of offering Every other semester What semester do you anticipate that will this course be offered for the first time? ______________Fall 2014_________________ Note: The approval process for a new course typically takes at least four to six weeks * If this course will change the number of credits for any major or minor, the form Proposal for a Revised Program must also be submitted and approved according to the instructions on that form.
    [Show full text]
  • Design Across Scales & Disciplines
    T~ Ü­T* v*C Tue Ï«:««am - Ï:««pm Lecture: EÏ-Ett Wed ;:««pm - :««pm Lab: t-«Ê http://stellar.mit.edu/S/course/MAS/spÏE/MAS.E« Design Across Scales &Disciplines Neri Oxman [email protected] Meejin Yoon [email protected] Lecture TAs Nicolo Guida, Jessica Jorge and Scott Penman [email protected] Lab TAs Department of Architecture Nicolo Guida [email protected], Jessica Jorge [email protected] and Scott Penman [email protected]. Lab TAs Mediated Matter Group Steve Keating [email protected], Markus Kayser [email protected], Jorge Duro-Royo [email protected],Chikara Inamura [email protected], Sunanda Sharma [email protected], Daniel Lizardo [email protected], Julian Leland [email protected],Christoph Bader [email protected], and Dominik Kolb [email protected] MAS.E« - DAS Spring «ÏE DE S C R IP T ION Inspired by Charles and Ray Eames’ canonical Powers of Ten, the course explores the relationship between science and engineering through the lens of Design. It examines how transformations in science and technology have inuenced design thinking, and vice versa.It oòers interdisciplinary tools and methods to represent, model, design and fabricate objects, machines, and systems. Structured as core lectures and lab sessions, the course is organize by "systems": Designing Data, Designing Materiality, Designing Life and Designing Nature. World-renowned designers, scientists and engineers will contribute with guest lectures. Within a workshop setting, we will design things - material and immaterial; we will learn new computational and fabrication tools along the way; we will develop methodologies for design research of interdisciplinary problems; we will practice what it means to think, live, and breathe Design.
    [Show full text]
  • Digimag42.Pdf
    DIGICULT Digital Art, Design & Culture Founder & Editor-in-chief: Marco Mancuso Advisory Board: Marco Mancuso, Lucrezia Cippitelli, Claudia D'Alonzo Publisher: Associazione Culturale Digicult Largo Murani 4, 20133 Milan (Italy) http://www.digicult.it Editorial Press registered at Milan Court, number N°240 of 10/04/06. ISSN Code: 2037-2256 Licenses: Creative Commons Attribution-NonCommercial-NoDerivs - Creative Commons 2.5 Italy (CC BY- NC-ND 2.5) Printed and distributed by Lulu.com E-publishing development: Loretta Borrelli Cover design: Eva Scaini Digicult is part of the The Leonardo Organizational Member Program TABLE OF CONTENTS Giulia Simi Cristophe Bruno: From Dada To Google .................................................................. 3 Loretta Borrelli Art And Everyday Life In The After Future ............................................................... 8 Barbara Sansone The Influencers 2009: Analog Guerrillas ................................................................. 18 Teresa De Feo Generative Modules By Guido Smider .................................................................... 24 Francesco Bertocco Philippe Parreno: No Ghost Just A Shell ................................................................ 29 Matteo Milani Brian Eno: Synthesist ................................................................................................. 34 Lucrezia Cippitelli Dick Raaijmakers: A Monography ........................................................................... 40 Donata Marletta Jan Rohlf: Musical(mind)
    [Show full text]
  • Computational Information Design
    computational information design Benjamin Jotham Fry bfa Communication Design, minor in Computer Science Carnegie Mellon University, May 1997 sm Media Arts and Sciences, Massachusetts Institute of Technology, May 2000 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy at the Massachusetts Institute of Technology April 2004 © Massachusetts Institute of Technology, 2004 Benjamin Fry Program in Media Arts and Sciences Author John Maeda Muriel Cooper Chair Associate Professor of Media Arts and Sciences mit Media Laboratory Thesis Supervisor Andrew B. Lippman Program in Media Arts and Sciences Chair, Departmental Committee on Graduate Students computational information design Abstract The ability to collect, store, and manage data is increasing quickly, but our ability to understand it remains constant. In an attempt to gain better understanding of data, fields such as information visualization, data mining and graphic design are employed, each solving an isolated part of the specific problem, but failing in a broader sense: there are too many unsolved problems in the visualization of complex data. As a solution, this dissertation proposes that the individual fields be brought together as part of a singular process titled Computational Information Design. This dissertation first examines the individual pedagogies of design, information, and computation with a focus on how they support one another as parts of a combined methodology for the exploration, analysis, and representation of complex data. Next, in order to make the process accessible to a wider audience, a tool is introduced to simplify the computational process for beginners, and can be used as a sketch- ing platform by more advanced users.
    [Show full text]