ed. by Loss
Pequeño Glazier (Editorial)
Semiotic
Considerations in an Artificial Intelligence-Based
Art Practice [English] Word
For Word. Encoding, Networking, and Intention
[English] Issues
2002: Issues
2001: Issues
2000: Issues
1999:
5.Jg. / Nr.
29 - ISSN 1617-6901
earlier
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Game
Modes |
#Define
| Inner
Workings |
Conflicting
Organizational
Design |
Poetics
of Dynamic Text
| Writing
Abstract Reality
| Meta-Media
| Semiotic
Considerations
| Word
for Word |
Computer
and Philosophy
| Embedded
World
Cory
Arcangel explains how / why the BEIGE
programming ensemble hacked a Super Mario
Brothers cartridge and erased everything but the
clouds. He presents their motives behind the
work by adding his thoughts about the project as
comments in the source code.
http://www.dichtung-digital.org/2003/3-beige.htm
Computers
represent world through data and data types. The
creation of data type reflects both the need for
computational efficiency as well as the ideology
of the engineers and scientists behind the code.
Marc Böhlen argues that the work of
amateurs and artists can be seen as a
contribution towards questioning and expanding
the limitations of reality representation
defined by computational requirements.
http://www.dichtung-digital.org/2003/3-boehlen.htm
What does
programmed signification tell us about the inner
human writing machine? John Cayley's essay
reexamins Freud's Mystic Writing Pad and is
sited within the context of debates on code and
codework in literal art. Rather than revealed
interiority, code is the archive and guarantee
of inner workings than reside beneath the
complex surfaces of poetics in programmable
media.
http://www.dichtung-digital.org/2003/3-cayley.htm
In recent
decades the primary conflict between
organizational designs has been between
hierarchies and networks, an asymmetrical war
exemplified most starkly in the war against
terrorism. But what happens when "the powers
that be" evolve from centralized hierarchies
into networked power? For Alex Galloway in the
future we are likely to experience a general
shift downward into a new bilateral
organizational conflict-networks fighting
networks.
http://www.dichtung-digital.org/2003/3-galloway.htm
Dynamic
texts offer new possibilities for reading and
new challenges in how we approach the reading
object, forcing the final object away from the
idea of a fixed form on a fixed surface. As Loss
Pequeño Glazier states in order to "read"
such an object, one must look deeper, into the
code itself, and one must consider the various
ramifications inherent in a code-based work.
Ultimately, one must explore the edge where
language apparatuses
engage.
http://www.dichtung-digital.org/2003/3-glazier.htm
Today
every computer exists in relation to the
Internet, whether it is connected or not. Every
software is potentially a networked software, a
building block of the networks we live within
and through. Because of this, code is no longer
Text, a symbolic representation of reality - it
is reality. To write code is to create and
manipulate this reality. Within it, Lisa
Jevbratt argues, artist-programmers are more
land-artists than writers, software are more
earthworks than narratives.
http://www.dichtung-digital.org/2003/3-jevbratt.htm
What is
the relationship between the computer's
contemporary identity as a simulator for all
previous media, and its "essence" as a
programmable machine? Is software art the only
real "avant-garde" of new media, or is the more
"impure" practice of remixing older media with
software techniques equally innovative? Lev
Manovich lays out the way to answer these
questions and to illustrate his concept of
meta-media by showing and discussing a few of
the classics of new media art.
http://www.dichtung-digital.org/2003/3-manovich.htm
Michael
Mateas combines artificial intelligence (AI)
research and art marking, a practice he calls
Expressive AI. AI consists of coupled rhetorical
and technical strategies for structuring
computational processes. Artists can consciously
manipulate these strategies so as to build
machines with powerful authorial affordances for
crafting audience experiences.
http://www.dichtung-digital.org/2003/3-mateas.htm
The very
nature of the online literary journal Word
For Word invites non-linear, non-sequential
readings, thus making it problematic to think of
its assembled works only as discrete, autonomous
texts. Jonathan Minton thinks of an underlying
"intention" in terms of textual encoding
(Intention not as the manifestation of an
author's "original" idea, but an always on-going
textual drift) and explores the methods in which
JavaScript can clarify this dynamic and
seemingly infinite drift of textual intention by
encoding and particularizing its recombinant
processes.
http://www.dichtung-digital.org/2003/3-minton.htm
David
Rokeby looks at issues of language and encoding
from the perspective of computer programming. He
discusses the different relationships between
code and encoder/decoder in computer coding and
human language coding and uses examples of his
work and working experience to illuminate these
differences and to propose a role for computers
as philosophical prostheses.
http://www.dichtung-digital.org/2003/3-rokeby.htm
How can we
conceive of engaging in Artificial Intelligence
(AI) practices while reflecting on the social
effects of AI technology? Traditionally, AI saw
itself as a 'closed world' outside of culture;
now, Phoebe Sengers argues, we may instead be
able to speak of and act on an 'embedded world'
of AI-in-culture.
http://www.dichtung-digital.org/2003/3-sengers.htm
