Software art

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Topics

software studies

Pages

Publications

  • Matthew Fuller (ed.), Software Studies: A Lexicon, MIT Press/Leonardo Book, 2008. [1]
  • Matthew Fuller, Behind The Blip. Essays On The Culture Of Software. New York: Autonomedia, 2003. [2]
  • Matthew Fuller, Softness: interrogability; general intellect, art methodologies in software. Huddersfield: Media Research Centre, 2006. [3]
  • DATA browser 02 (2005). Engineering Culture: On 'The Author as (Digital) Producer'. Autonomedia / Arts Council England. ISBN 1-57027-170-4
  • Barreto, Ricardo and Perissinotto, Paula “the_culture_of_immanence”, in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN: 85-7060-038-0.
  • Peter Luining (2004). Read_Me 2004. An extensive review of the Run_Me software art conference/ festival held in Aarhus, Denmark 2004.
  • Josephine Bosma (2004). Constructing Media Spaces
  • Andreas Broeckmann (2004). Runtime Art: Software, Art, Aesthetics
  • Thor Magnusson (2002). Processor Art: Currents in the Process Oriented Works of Generative and Software Art
  • Edward A. Shanken (1998). "The House that Jack Built - Jack Burnham's Concept of 'Software' as a Metaphor for Art" Leonardo Electronic Almanac 6:10.
  • Andreas Broegger, "Software Art - an introduction", - Software Art Andreas Broegger Copenhagen
  • Geoff Cox (2006). Antithesis: The Dialectics of Software Art'. PhD thesis.
  • Andreas Broeckmann (2006). Software Art Aesthetics
  • section on transcoding in Manovich's Language of New Media
  • Wendy Hui Kyong Chun (2008). "On 'Sourcery,' or Code as Fetish". [4]
  • Geoff Cox (2007). "Software Art Has No History" introduction to 'Cybernetic Histories of Artistic Practices', for re:place, second international conference on histories of media, art science and technology, Haus der Kulturen der Welt, Berlin. [5]
  • Geoff Cox (2007). "Generator: The Value of Software Art" [PDF, 896 KB] in Judith Rugg, ed., Issues in Curating, Contemporary Art and Performance, Bristol: Intellect. [6]
  • Simon Yuill (2004). "Code Art Brutalism. Low-level systems and simple programs", April 2004. [7]
  • Philip Agre, Computing and Human Experience, Cambridge UP, Cambridge 1997
  • Konrad Becker and Felix Stalder, eds., Deep Search, Studeinverlag, 2010
  • Wendy Hui Kyung Chun, "On Software or the Persistence of Visual Knowledge", Grey Room, 18 (Winter 2005) pp26-51
  • Dodge and Kitchin, Code/Space, The MIT Press, Cambridge, 2011
  • Ron Eglash, African Fractals, modern computing and indigenous design, Rutgers University Press, New Brunswick, 1999
  • Félix Guattari, "On Machines"
  • Hagen, Wolfgang. "The Style of Source Codes." In Wendy Hui Kyong Chun and Thomas Keenan, eds., New Media, Old Media. New York: Routledge, 2005.
  • Adrian Mackenzie, Cutting Code, Peter Lang, New York
  • Mark C. Marino, "Critical Code Studies", Electronic Book Review, 12-04-2006. [8]
  • Nick Montfort and Ian Bogost, Racing the Beam, The Atari Video Computer System, The MIT Press, Cambridge, 2009
  • Noah Wardrip Fruin & Nick Montford, New Media Reader, The MIT Press, Cambridge, 2003
  • Simon Yuill, "All Problems of Notation Will be Solved by the Masses", Mute, February 2008, [9]

Manovich on transcoding in The Language of New Media

  • principles of new media: “material” (numeric coding and modular organization), more “deep” and far reaching ones (automation and variability), and the most substantial consequence of media’s computerization (cultural transcoding)
  • structure of computerized media now follows conventions of computer's organization of data: new data structures such as lists, records and arrays; substitution of all constants by variables; the separation between algorithms and data structures; and modularity.
  • new media in general can be thought of as consisting from two distinct layers: the “media/cultural layer” and the “computer layer” The examples of categories on the cultural layer are encyclopedia and a short story; story and plot; composition and point of view; mimesis and catharsis, comedy and tragedy. The examples of categories on the computer layer are process and packet (as in data packets transmitted through the network); sorting and matching; function and variable; a computer language and a data structure.
  • computer layer and media/culture layer influence each other. Since new media is created on computers, distributed via computers, stored and archived on computers, the logic of a computer (computer's ontology, epistemology and pragmatics ~ the ways in which it models the world, represents data and allows us to operate on it; the key operations behind all computer programs, such as search, match, sort, filter; the conventions of HCI) can be expected to significant influence on the traditional cultural logic of media (its organization, its emerging genres, its contents). + vice-versa influence: HCI interfaces look more and more like interfaces of older media machines and cultural technologies: VCR, tape player, photo camera
  • cultural categories and concepts are substituted, on the level of meaning and/or the language, by new ones which derive from computer’s ontology, epistemology and pragmatics
  • framework to understand this process of cultural re-conceptualization? Since on one level new media is an old media which has been digitized, it seems appropriate to look at new media using the perspective of media studies. We may compare new media and old media, such as print, photography, or television. We may also ask about the conditions of distribution and reception and the patterns of use. We may also ask about similarities and differences in the material properties of each medium and how these affect their aesthetic possibilities. // But, this perspective can't address the most fundamental new quality of new media which has no historical precedent — programmability.
  • To understand the logic of new media we need to turn to computer science. It is there that we may expect to find the new terms, categories and operations which characterize media which became programmable. From media studies, we move to something which can be called software studies; from media theory — to software theory. The principle of transcoding is one way to start thinking about software theory. Another way which this book experiments with is using concepts from computer science as categories of new media theory (eg. interface, database).


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