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?