codeart

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1. The dominant, continuing search for a noiseless channel has been – and will always be – no more than a regrettable, ill-fated dogma. Acknowledge that although the constant search for complete transparency brings newer, ‘better’ media, every one of these improved techniques will always possess their own inherent fingerprints of imperfection.

Rosa Menkman, Glitch Studies Manifesto

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Der Fehler als Kunstform und Ästhetik - Glitch Feminism

"In a society that conditions the public to find discomfort or outright fear in the errors and malfunctions of our socio-cultural mechanics—illicitly and implicitly encouraging an ethos of “Don’t rock the boat!”—a “glitch” becomes an apt metonym. Glitch Feminism, however, embraces the causality of “error”, and turns the gloomy implication of glitch on its ear by acknowledging that an error in a social system that has already been disturbed by economic, racial, social, sexual, and cultural stratification and the imperialist wrecking-ball of globalization—processes that continue to enact violence on all bodies—may not, in fact, be an error at all, but rather a much-needed erratum. This glitch is a correction to the “machine”, and, in turn, a positive departure." (L. Russell, The Society Pages, 2013)

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ein “klassisches” Beispiel von netzbasierter Kunst 1999 (Urheber: Netochka Nezvanova)

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Cornelia Sollfrank

http://www.artwarez.org

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http://mohayonao.github.io/CoffeeCollider/#noise.coffee

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http://invading-space-characters.verasebert.com/

Javascript + Storytelling + Typografie + Gaming

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Coding Art / Medienkunst als Paradox

Code als funktionale Beschreibung und Handlungsanweisung -- Coding als spielerisches Tun und Selbstzweck

Code als Sprache? -- doppelte Performativität von Programmiersprachen

“unsichtbarer” Code? -- Kunst macht Dinge angreifbar, hörbar, sichtbar

Codierung: verschlüsseln - entschlüsseln

Coding Art -- Medienkunst: kritische Reflexion über und durch Medien, “aus dem Abstand und gleichzeitig mittendrin”

“Wem gehört ein Algorithmus?”: kollektive Autor*innenschaft -- Werkgedanke der Kunst

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Eine Sonifizierung des Linux-Quellcodes (2003)

neu aufgelegt: https://cba.fro.at/463206

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[The ability to code] is similar to what scholar Michael Mates describes as ‘procedural literacy’, which is to connect social and cultural issues with coding through theoretical and aesthetic considerations. In particular, how “the culturally-embedded practices of human meaning-making and technically-mediated processes” are intertwined.

Shelley Knotts, Winnie Soon, Suzy O’Hara

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Das Internet ist ein Formwandler

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“As (Zadie) Plant tells it in Zeroes and Ones; micro-bacterial  mats  wove  the  world,  and  still  weave  their  way into women’s egg, and not into male sperm  (there is/might be  a  Mitochondrial  Eve).  These  ‘weavers’  become  Freud’s ‘weaving  women’--weaving  women  who  make  connectionswith  machines,  for  instance  in  the  industrial  revolution,when male weaving is taken over by women. Slightly later,the  inter-twined  history  of  the  Jaquard  Loom,  which  usedpunch cards, and later electronic software coding, comes tostand ‘as proof’ of the importation of ‘the feminine’ into the supposedly  sterile  spaces  of  the  machines.  Which  still  leaves  unanswered  the  ques-tion  of  what  makes  weaving,now ‘secreted’ within the digital, a female techology? Apartfrom the fact Freud certified it so? Weaving,  for  Plant,  is  about  technologies  and  practiceswhich  cannot  be  explained  in  terms  of  domination  and  control. Weaving--women working with information techno-logies--can  then  also  be  understood  as  in  some  sense  a  subterranean  weaving  against;  an  inevitable  conspiracy  ‘inprocess’ not in consciousness, if you like.“

(Caroline Bassett, in: A Manifesto Against Manifestos” - aus: next cyberfeminist international Reader 1999)