Doktorske studije Univerziteta umetnosti u Beogradu Program digitalne umetnosti POETIKE DIGITALNE UMETNOSTI čitanka Priredio docent Dejan Grba 2010 2 What is Computer Art? ............................................................................................. 5 A. Towards an Ahistorical Assessment of the Computer Art Scene ..................................... 5 B. Descriptive Analysis ...................................................................................................................... 11 1. George Nees: «Schotter » ...................................................................................... 11 C. Software Art – Computer Art...................................................................................................... 13 1. Alex McLean: «Forkbomb» .................................................................................. 14 2. Adrian Ward: «Auto-Illustrator» ........................................................................ 16 D. Conclusions ...................................................................................................................................... 17 Notes ........................................................................................................................................................ 19 Kraftwerk ................................................................................................................... 24 A Brief Study of the Concept ........................................................................................................... 24 Kraftwerk, The Early Years '71 - '73 .............................................................................................. 25 Kraftwerk Interview .......................................................................................................................... 30 Read_me, run_me, execute_me ..........................................................................33 Generative art ≠ Software art ......................................................................................................... 33 Dragan Espenschied/ Alvar Freude .............................................................................................. 34 textz.com ............................................................................................................................................... 36 Performance of code vs. the fascination with the generative,.............................................. 39 Program Code as Performative Text ............................................................................................ 40 How To Do Things With Words ..................................................................................................... 40 Code as a mobilisation and/or immobilisation system ........................................................... 41 Focus on an invisible performativity ........................................................................................... 43 Codeworks: "M @ z k ! n 3 n . k u n z t . m2cht . fr3!" .............................................................. 44 mez .......................................................................................................................................................... 44 Netochka Nezvanova ......................................................................................................................... 46 Performativity and Totality of Genotexts ................................................................................... 46 Notes ....................................................................................................................................................... 48 On a Number of Aspects of Artistic Computer Games.................................... 53 I. Introduction: «There’s no turning back now!» ..................................................................... 53 II. Modification ................................................................................................................................... 57 Jodi: «SOD» (1999) ................................................................................................. 58 Joan Leandre: «retroYou r/c» (2000) .................................................................... 58 Tom Betts: «QQQ» (2002) ...................................................................................... 60 Lonnie Flickinger: «Pencil-Whipped» (2001) ........................................................ 60 Cory Arcangel: «Super Mario Cloud» (2002) .......................................................... 61 III. Abstraction .................................................................................................................................... 62 Arcangel Constantini: «Atari Noise» (1999) ............................................................ 63 Jodi: «Jet Set Willy © 1984» (2002) ........................................................................ 65 Norbert Bayer («Mr. Ministeck»): «Touchscreenss» (1998–2001) ......................... 65 IV. Socialisation .................................................................................................................................. 66 Olaf Val: «swingUp Games» (2001) ......................................................................... 66 Volker Morawe/Tilman Reiff: «Painstation» (2001) ............................................... 67 SF Invader: «Space Invader» (since 1999) .............................................................. 67 Beate Geissler/Oliver Sann: «Shooter» (2000-2001) .............................................. 67 V. GAME ART—NOT YET A GENRE… .......................................................................................... 68 3 Generative Tools ....................................................................................................... 71 The Methodology of Generative Art .................................................................... 74 Notes ....................................................................................................................................................... 91 Bioart, Between Ethics and Aesthetics ............................................................... 93 Mythical Bodies I ...................................................................................................... 97 In the beginning there was… ...........................................................................................................97 … the image of humans? Cyborg bodies and their contours................................................. 98 «The Promises of Monsters» .......................................................................................................... 99 Interface gender ................................................................................................................................. 99 Artificial humans or anthropomorphism as imperative ..................................................... 100 The future Eve .................................................................................................................................... 101 Creators and their creatures ........................................................................................................ 102 Stories of creation, revisited ........................................................................................................ 102 Living images ..................................................................................................................................... 102 Hybrids of art and science ..............................................................................................................103 Making monsters ............................................................................................................................... 105 «Reinvent yourself!» ....................................................................................................................... 106 Notes .................................................................................................................................................... 108 Mythical Bodies II ................................................................................................... 112 Body projections under posthuman conditions ...................................................................... 112 The body as software ........................................................................................................................ 115 Image processing methods ........................................................................................................... 120 Cyborg subjects and their masquerades .................................................................................... 124 Cyborg technologies ......................................................................................................................... 128 ‹Playing and learning› ..................................................................................................................... 132 New heroines? .................................................................................................................................... 134 «Digital drag» ..................................................................................................................................... 135 ‹Making sex› .......................................................................................................................................