Friday, September 18, 2015

[Yasmin_discussions] the nature of code as a disrputive medium


thanks for your pointing to your discussion on underlying code as a disruptive
movement in art-science- picking up william joel's initial post

I guess my question is what is different today than
10 years ago , pr 20 years ago- what is an emerging new art/science or
art/technology trend
in this area ?

telecommunications and software have a long and distinguished history in our
community- from rabinowitz and kit galloways' Electronic Cafe in 1984,
to roy ascott's plissure du text=

Leonardo published a special issue on art and interactive
telecommunications back
in 1991 Roy Ascott and Carl Eugene Loeffler, eds."Connectivity: Art
and Interactive Telecommunications"
LEONARDO 24:2, 1991

I guess once answer is the dramatic increase of on line code
developers - how many people write code
today - and visionaries like roy hoped there would be a threshold at
which planetary consciousness emerged-
and certainly we now see large scale collective projects- and as you
point out languages like processing enable
code sharing in seamless ways

here is what roy was saying then

Roy Ascott sees our age as one that includes an art of interactivity,
involving the human use of computerised communication and electronic
telepresence. He believed this approach carries great potential and
hope for our emergence into the next millennium as caring, cooperative
and creative human beings…
Connectivity: Art and Interactive Telecommunications

Telematic systems have brought us to the edge of another virtual
reality. The last one, conjured out of the thinking of the
Enlightenment of the eighteenth century, presented a world of
certainty and determinacy in which subject and object, mind and
matter, art and science were all quite clearly defined, separated out
and neatly categorised. That world is in many ways crumbling; we see
now that it was not the world after all. It was a virtual
world-necessary to com- bat superstition, sufficient in its
mechanistic determinism to feed the dream of reason-but virtual
nonetheless. This certainty and solidity seemed at the time to be the
real thing. For centuries artists seemed to think so too. But "all
that is solid melts into air." [1] The real was only virtual after
all. Now we have a different paradox to deal with-actually to
celebrate: the virtual is becoming real. With computer-mediated
systems of perception, memory, intelligence and communication, we are
redescribing and reconstructing the world; we inhabit increasingly
what is essentially a dataspace, a telematic environment, a virtual

roger malina

I hope I am not gate crashing with a response to the

"What one might call disruptive media?"

but what about media that is often hidden from view, but media
nonetheless? I allude
to it a bit in a recent blog post:

In closed systems, this media may be known only to certain people. In
open systems
(open source software and hardware), the media are present in places
like source forge
and github, but increasingly in places like codepen, codio, jsbin, and
jsfiddle (the javascript
development environments).

There is also Processing which has had a long following in the arts.
One of the first things I noted
about Processing was that it *automatically* put in a "link" to the
source code. Imagine that! Sharing
code by default with others. I also like the patch sharing and patch
edit/presentation duality
in Max/Msp.

Systems theorists and software engineers may surface notions such as
white box vs. black

This type of media is running your lives.


Paul Fishwick, PhD
Distinguished University Chair of Arts, Technology, and Emerging Communication
Professor of Computer Science
Director, Creative Automata Laboratory
The University of Texas at Dallas
Arts & Technology
800 West Campbell Road, AT10
Richardson, TX 75080-3021
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