Charla // Software art
// http://netart.org.uy/workshop/softart.htm
[ SOFTWARE ART ]
//Brian Mackern
duracion: 2 horas
--- --- ---
_INTRODUCCION
A partir de la inmersión tecnológico/digital en la que se encuentra la actual sociedad occidental, es cada vez más evidente el advenimiento de lo que se ha dado en llamar una cultura de 'lo digital', 'cultura de redes', 'cibercultura': La cultura y sus manifestaciones, ya vueltas información, fluyendo a través de espacios informacionales.
Como cualquier otra información, la cultura informacional puede ser digitalizada, y dada esa conversión hacia el espacio computacional, comienza a funcionar con las mismas reglas racionales con las que actúa el resto del sistema. Reglas de optimización, eficiencia y racionalidad.
Con el desarrollo y el cambio fundamental que significa este espacio comunicativo/informacional, el rol del artista cambia, ya no trabajando sobre la representación/imagen, sino que al estar conectado con sus pares (network/computadoras), hace las veces de filtro informacional y por otro lado opera de retransmisor, trabajando en la generación de sentidos alternativos de este espacio fluído y dinámico.
Dentro de este contexto, el software suele ser percibido como una herramienta neutral, un medio transparente para el tratamiento de la información. Una herramienta 'inocua' para la producción y creación de objetos digitales. En realidad esto no es tan así: el software limita al usuario dentro de un entorno acotado de trabajo, lo somete a determinada metáfora de interfaz y lo fuerza a trabajar dentro de determinadas reglas predefinidas.
Podría definirse como 'software artístico' a aquel software desarrollado con propósitos y visiones diferentes a aquellos tradicionales y pragmáticos. Estos programas no son vistos como herramientas eficientes, racionales y optimizadas para la producción y manipulación de objetos digitales, sino como aplicaciones en los que se revelan otras visiones, otros sentidos. Programas donde la intuición, las emociones y otros elementos 'irracionales' imperan. Cualidades recuperadas que confrontan, a veces de manera muy crítica, el discurso imperante en la actual sociedad tecnológico/informacional.
--->
cut&paste remix, resultado de una 'google_navegación' por
sitios referidos al tema [keyword:software-art]
[txt_sentence_remix llevado a cabo por una aplicación autómata
desarrollada para el caso] - Brian Mackern
<---
_definiciones:
"What is artistic
software?
Artistic software is, first and foremost, software created for purposes
different than traditional pragmatic ones. Such programs are not seen
as tools for the production and manipulation of digital objects - from
online bank accounts to works of art - they are works of art in their
own right.
The emergence of this phenomenon is first of all due to the overall
spread of software - commercial, proprietary programs as well as open
source - and its introduction into all spheres of human activity. Software
has always been seen as a neutral tool, tending to become a transparent
medium for information processing, and a most comfortable one at that.
Software and the products created with its help have always been considered
not only to belong to totally different areas but even to be non-comparable.
In most cases, an individual piece of software is thought to be completely
interchangeable with a competing product without any effect on the result.
Such an approach assumes several stereotypical and false premises.
First, software is not a "transparent" tool for the creation
and processing of the digital product. It defines a quite limited space,
within a specific framework in which people are required to work. Thus
it persistently forces people to keep to certain, pre-defined rules.
In addition to the limitations of using computer programs there is also
a certain predetermined position - a creative, social, even political
one - into which the software user is put, not so much by the software's
creators, but by more general power structures: the culture of software
creation and media culture as a whole. And this, in turn, depends on
the dominant social rules, which will be touched upon in this article.
More and more people are finding these limitations not only uncomfortable
but also boring and authoritarian.
Second, the overall "digitalisation" of reality makes software,
the basis of the functioning of digital space, increasingly important
as such. "
Olga Goriunova and Alexei Shulgin / Artistic Software for Dummies
http://www.macros-center.ru/read_me/teb1e.htm
“...software
art could be generally defined as an art:
- of which the material is formal instruction code, and/or
- which addresses cultural concepts of software…”
Florian Cramer / Concepts, Notations, Software, Art
http://userpage.fu-berlin.de/%7Ecantsin/homepage/writings/software_art/concept_notations/concepts_notations_software_art.html
"Following
works can be referred to as artistic software:
1. Instructions (read_me) on adjusting standard (commonly used) software,
as well as patches and any kind of impact on software, whose results
are not planned by producers and application of which leads to creation
of an artistic product.
2. Deconstruction of existing software products, including computer
games.
3. Written from scratch program with purpose differing from usual rational
software purposes, i.e. refusal of the idea of a program as a purely
pragmatic tool. "
read_me festival 1.2 / Concept
http://www.macros-center.ru/read_me/index.htm
"...At the
basis of each piece of software there are definite algorithms, but if
conventional programs are instruments serving purely pragmatic purposes,
the result of the work of artistic programs often finds itself outside
of the pragmatic and the rational. "
Olga Goriunova and Alexei Shulgin
http://www.macros-center.ru/read_me/teb1e.htm
"Software culture
is the living culture of programmers and users, as active participants
in a world of or mediated by software. In its heart it circumscribes
the field of intensive immaterial production, if on the level of coding,
use, speculation or critical reflection and at the periphery every aspect
of human life which is somehow driven or controlled by software.
Software art is reflecting the realities and potentials of this culture."
Pit Schultz, from a closed mailing list discussion.
_diferencias entre software art y generative art
Inke Arns
http://www.projects.v2.nl/~arns/Texts/Media/Arns-Article-Arhus2004.pdf
_CATEGORÍAS
Criterio de selección en base a un corte transversal por categorías de software (a la manera de repositorio), y no por estrategia creativa.
a]
Ironía /
Activismo-Hacktivismo / Referentes a tópicos políticos
y/o sociales
La interface prevaleciendo sobre la funcionalidad / El proceso sobre
la interface
Deconstructivos /
Irracionales /
b]
Categorias en runme.org
http://www.runme.org/
algorithmic
appreciation
> non-code-related
> pseudo-quines
appropriation
and plagiarism
> stealing
artificial intelligence
artistic
tool
> audiovisual
> narrative
> useless
bots and agents
browser art
code art
> code poetry
> minimal code
> obfuscation
> programming languages
> quines
conceptual
software
> without hardware - formal instruction
data transformation
> data collage
> multimedia
> sonification
> visualization
digital
aesthetics r&d
> disfunctionality
> low tech
digital
folk and artisanship
> ascii art
> gimmicks
> screen savers
existing
software manipulations
> artistic re-packaging
> cracks and patches
> instructions
> software plugins
games
> deconstruction and modification
> public games
generative
art
> algorithmic audio
> algorithmic design
> algorithmic image
> algorithmic multimedia
hardware transformation
installation-based
institutional critique
performance-based
political
and activist software
> cease-and-desist-ware
> illicit software
> software resistance
> useful activist software
social software
system dysfunctionality
> denial of service
> virus - security
text manipulation
> text editors
_APPZ
_proceso por el proceso
1962 / Umberto
Eco / Opera Aperta
Nuevo concepto de obra de arte, definida como relaciones estructuradas
entre elementos que pueden modularse para crear una serie de obras diferentes
Alex McLean
- UK
http://yaxu.org/words/
http://yaxu.org/yaxu-20041201-test.mp3
Tablex is a collaboration between Alex Garacotche of Voodoo Muzak and
Alex McLean of slub. Garacotche plays processed drums, his software
chopping up and restructuring his sound into fractured, impossible rhythms.
McLean writes Perl software live according to the TOPLAP
manifesto, working with his code as musical material, generating wigged-out
skiffle.
Two unusual directions towards the simple end of making very live, improvised
computer music.
Casey Reas
/
MicroImage / 2003
http://www.groupc.net/iperimage.php?section=software&work=microimage_s&images=9&id=2&bgcolor=FFFFFF
ManifestoDraft -
TOPLAP
http://toplap.org
"We demand:
Give us access
to the performer's mind, to the whole human instrument.
Obscurantism is dangerous. Show us your screens.
Programs are instruments that can change themselves
The program is to be transcended - Language is the way.
Code should be seen as well as heard, underlying algorithms viewed as
well as their visual outcome.
Live coding is not about tools. Algorithms are thoughts. Chainsaws are
tools. That's why algorithms are sometimes harder to notice than chainsaws.
We recognise continuums of interaction and profundity, but prefer:
Insight into
algorithms
The skillful extemporisation of algorithm as an impressive display of
mental dexterity
No backup (minidisc, DVD, safety net computer)
We acknowledge that:
It is not necessary
for a lay audience to understand the code to appreciate it, much as
it is not necessary to know how to play guitar in order to appreciate
watching a guitar performance.
Live coding may be accompanied by an impressive display of manual dexterity
and the glorification of the typing interface.
Performance involves continuums of interaction, covering perhaps the
scope of controls with respect to the parameter space of the artwork,
or gestural content, particularly directness of expressive detail. Whilst
the traditional haptic rate timing deviations of expressivity in instrumental
music are not approximated in code, why repeat the past? No doubt the
writing of code and expression of thought will develop its own nuances
and customs.
Performances and events closely meeting these manifesto conditions may
apply for TOPLAP approval and seal. "
Code-Art
http://blogs.sun.com/roller/page/ThinGuy?entry=the_war_on_terror_as
explicación del codigo:
http://blogs.sun.com/roller/page/ThinGuy?entry=p_bourne_shell_for_dummies
Florian Cramer
http://userpage.fu-berlin.de/~cantsin/homepage/
P3RMUTATIONS / Florian
Cramer
http://userpage.fu-berlin.de/~cantsin/permutations/index.cgi
text automata
Auto/generative
Simon Jr
http://www.numeral.com/artwork.html
Organic Algorithms
/ Casey Reas
http://reas.com/category.php?section=works
http://www.groupc.net/
Reas' software and images are derived from short text instructions explaining
processes which define networks. The instructions are expressed in different
media including natural language, machine code, computer simulations,
and static images. Each translation reveals a different perspective
on the process and combines with the others to form a more complete
representation.
MicroImage explores the phenomenon of emergence through the medium of
software. It is a microworld where thousands of autonomous software
organisms and a minimal environment create a software ecosystem. As
the environment changes, the organisms aggregate and disperse according
to their programmed behavior. They are tightly coupled to the environment
and slight changes in the environment create macroscopic changes in
the ecosystem. A field of undulating form emerges from the interactions
between the environment and the organisms.
In the description of MicroImage, the choice of the words organism,
ecosystem, environment, and clone are used abstractly. The word “organism”
can be replaced by “system” or “machine.” The
use of terminology grounded in biology is used to emphasize the relation
between the synthetic software structures used in the project and biological
structures found in the natural world.
Browsers
Inxight / Inxight
Software
aplicación discontinuada
WebStalker / I/O/D
http://www.backspace.org/iod/
Webtracer / Nullpointer
http://www.nullpointer.co.uk/-/webtracer2.htm
Browser Gestures
/ Mark Dagget
http://www.flavoredthunder.com/dev/browser-gestures/
icon browser / history browser / blur browser
Browser Gestures is an ongoing series of applications that reinterpret
what a browser is. Much in the same way that Web Stalker represents
the network outside of the well-accepted page metaphor, my browsers
reinterpret how browsers normally display and navigate information for
the user. In some cases, the browser abstracts the information that
is to be displayed by sending the requested page through a feedback
loop. In other cases, the browser takes the form of browser's "history":
the user must sift through layers of previous pages that have accrued
since the browser was opened.
Wrong Browser /
JODI
http://www.wrongbrowser.com/
ZNC / Peter Luining
http://znc.ctrlaltdel.org/
Online/Community
ElectricSheep /
Scott Draves
http://electricsheep.org/
Electric Sheep is a free, open source screen saver run by thousands
of people all over the world. It can be installed on any ordinary PC
or Mac. When these computers "sleep", the screen saver comes
on and the computers communicate with each other by the internet to
share the work of creating morphing abstract animations known as "sheep".
The result is a collective "android dream", an homage to Philip
K. Dick's novel Do Androids Dream of Electric Sheep.
n0time / Victoria
Vesna and Josh Nimoy
http://notime.arts.ucla.edu/notime3/
n 0 time is the amount of time that none of us have. n 0 time always
grows, especially in a new world of globalized network communication,
in which time zones become meaningless and the most important asset
is no longer time, but attention.
The n 0 time screen saver runs on an idle computer, constantly contributing
that computer's amount of wasted time to our central n 0 time database.
Screen-saving participants contribute their own n 0 time to either their
very own n 0 time bodies, or those of other people. This is called "n
0 time-sharing." Measure how long you have been away from your
computer by watching how much denser the n 0 time body has grown.
When a noTime body implodes, all participants are notified by the imploading
screen saver via email.
Tactical Media
Floodnet
http://www.thing.net/~rdom/ecd/floodnet.html
Designed as a collectively actuated electronic civil disobedience tool,
FloodNet inverts the logic of wide open propaganda pipes by flooding
network connections with millions of hits from widely distributed, fully
participatory nodes. FloodNet enables a performance of presence, which
says to Mexico (and its close ally the United States): we are numerous,
alert, and watching carefully.
On April 10,1998 FloodNet Tactical Version 1.0 was showcased during
an Electronic Civil Disobedience action against Mexican President Zedillo’s
web site. A Java applet reload function sent an automated reload request
several times per minute to Zedillo’s page. Reports from participants
and our observations confirmed that the more than 8,000 international
participants in this first FloodNet action intermittently blocked access
to the Zedillo site on that day.
ReamWeaver / The
Yes Men, Plagiarist.org, Detritus.net
http://reamweaver.com/
Reamweaver has everything you need to instantly 'funhouse-mirror' anyone's
website, copying the real-time 'look-and-feel' but letting you change
any words, images, etc. that you choose. This is the system the Yes
Men have been using to divert requests for speakers, lecture invitations
and enquiries from the World Trade Organisation website [http://www.wto.org]
to their own, slightly perverted version [http://www.gatt.org], creating
opportunities for live surrealist performances and insane Powerpoint
presentations.
Screensavers
DriveScroll / Greg
Sidal
http://www.geocities.com/gregsidal/drivescroll/
The Drive Scroll screensaver displays the data from a disk drive as
a scrolling image. The data is directly copied to an RGB screen buffer
without interpretation. Although it will probably mean that your computer
consumes far more electricity than is strictly necessary (all those
needless disk rotations, all that unnecessary visual display!) it is
very fetching, and will draw comments from worried people who think
your computer has truly lost its marbles. Even better, if you use your
laptop to give projected demonstrations, drivescroll will often intervene
as the screensaver kicks in, forcing you to explain and improvise, lending
an edgy, unpredictable flair to your presentation.
Soundtoys/Sound-engines
SoundRaider / Andy
Wilson
http://www.andyw.com/ow.asp?SoundRaider
IXI-Software /
Thor Magnusson & Enrike Hurtado Mendieta
http://ixi-software.net/
ixi software is an experimental project concerned with building prototypes
for musical instruments. We are interested in the computer as a workshop
for building non-conventional tools for musicians, i.e. not trying to
imitate or copy the tools that we know from the real world of instruments
and studio technology. We currently work with open source software and
try to build interesting graphical front-ends to software such as Pure
Data or Supercollider, but our aim is also to distribute our applications
such that everybody can use them, making them simple and intuitive to
use.
Balldroppings /
Josh Nimoy
http://www.balldroppings.com/
ctrl-alt-del / Peter
Luining
http://works.ctrlaltdel.org/indexc.html
Glasbead / John
Klima
http://www.glasbead.com/
FMOL / Sergi Jorda
http://www.iua.upf.es/~sergi/FMOL/index.html
Games
RETROYOU R/C [paradise]
/ Joan Leandre
http://www.retroyou.org/
Revolt Modification
Escape from Woomera
/ Kate Wild, Stephen Honegger, Ian Malcom, Andrea Blundell, Julian Oliver,
Justin Halliday, Matt Harrigan, Darren Taylor, Chris Markwart.
http://www.escapefromwoomera.org/
Half-Life Modification
SOD / JODI
http://sod.jodi.org/
Wolfenstein Modification
Untitled Game /
JODI
http://www.untitled-game.org/
Quake Modification
Gameboy_ultraF_uk
/ corby & baily 2001/2
http://www.reconnoitre.net/rec_main/docs/gb.htm
The work consists of a Free Software Game Boy emulator whose rendering
system has been (pathologically) rewritten to degenerate over time.
Game entities mutate into background and interface elements, or appear
as fragments of the games binary code. Text begins to emerge as a jumble
of characters, sprites and binary data. Scanline bytes are miscopied,
transformed and duplicated. Memory is blitted into sections of the screen,
as the inside of the game seeps to the outside. Variations in the rendering
behaviour are triggered by user interactions implicit in the game play
and are manipulated by a Cellular Automata 'metabolism' giving rise
to inter-related rendering symptoms. The emulator displays an unpredictable
agency that injects a subjectifying process into the rendering of the
software instructions it executes.
September 12th /
Gonzalo Frasca
http://www.newsgaming.com/games/index12.htm
Corridos / Anne-Marie
Schleiner & Luis Hernandez
http://www.ungravity.org/corridos/htm/situacion.htm
Corridos es un juego para computadora, hecho con programas de código
abierto incluyendo Blender, que se distribuye gratis en internet, como
una aplicación que corre en cualquier plataforma.
Corridos, el juego, tiene dos barrios, semi factualmente basados en
la frontera de México y Estados unidos: una sección del
centro de Tijuana y el adyacente mall de San Ysidro. Estos barrios fueron
modelados en computadora, mediante el uso de mapas y fotografías
del lugar. Tijuana sigue siendo un punto de paso de drogas muy importante
en ruta hacia el mercado más grande del mundo, como lo ha sido
desde que después de la segunda guerra mundial, el gobierno estadounidense
decidiera plantar semilla de amapola en el vecino estado de Sinaloa,
técnicos chinos enseñaron a los agricultores en la producción
de la amapola, con el fin de abastecer la demanda de morfina para sus
soldados, que regresaban fuertemente adictos. La mejor ruta para mover
la producción era por Tijuana, asi que se generó una infraestructura
que dificilmente iba a desaparecer. Aunque, a diferencia de las canciones,
las mas recientes narcomuertes, aproximadamente 60 muertes violentas
en los primeros dos meses del 2005 en Tijuana, cuando nos mudamos para
allá, incluído el jefe de la policía, se deben
a un vacío de poder, desde la resquebrajación del cártel
de los hermanos Arellano Félix, con uno de sus jefes en la cárcel
y el otro muerto a tiros. De acuerdo con el Semanario Zeta, uno de los
pocos periódicos que contienen información factual acerca
de narcos, el cártel del Golfo, comandado por Osiel Cárdenas,
está tratando de arrebatarle la zona a lo que queda del alguna
vez extremadamente violento y poderoso cártel de Tijuana. Osiel
está en la cárcel, pero su escuadrón de muerte:
'Los Zetas', compuesto por militares desertores le sigue siendo leal
y se ha dicho que están tratando de ganar el control del área
de las Californias.
Design
n-Gen Design Machine
/ n-generate
http://www.n-generate.com
The n-Gen Design Machine is a demo application that allows anyone to
easily create professional quality designs with the push of a button.
It suggests a new design methodology -- designing by numbers and algorithms,
rather than by hand.
The n-Gen Design Machine is a rapid prototyping graphic design engine
that automatically generates savable graphic files from a combination
of the user's own text content and the n-Gen Design Modules - External
style files that supply the Recipes (design algorithms, formulae, rule
sets) and Ingredients (layouts, imagery, type, color palettes, etc.).
Modulos / Estilos:
California Noir / David Carson
Modernist / Bauhaus-Modernism
Future Tool / Future Farmers
SpaceFarm / The Attik-Post Tools-Tree Axis
Urbivore/ Mark Farrow-Peter Saville
SignWave AutoIllustrator
/ Adrian Ward
http://www.auto-illustrator.com/
Auto-Illustrator perfected the genre of parodyware in software art.
It pretends to be just another vector graphics tool, but actually runs
its own course.
"Signwave Auto-Illustrator is an experimental, semi-independent,
semi-autonomous, generative software artwork and a fully functional
vector graphic design application to sit alongside your existing professional
graphic design utilities. Use it to explore a wide range of generative
and procedural techniques in the production of your own graphic designs.
Discover how easy it is to produce complex designs in an exciting and
challenging environment that questions how contemporary software should
behave."
SignWave Autoshop
/ Adrian Ward
http://www.signwave.co.uk/go/products/autoshop
Auto-generative bitmap graphic manipulation software
Originally released in 1999 as work undertaken at i-DAT whilst at MLA,
Autoshop is an explorative parody of professional bitmap graphic manipulation
software. By asserting it's own creative agendas upon the user, it raises
awareness of authorship and the position of the creator when digital
systems are in use. It's also good for destroying your images.
You can import existing bitmap images in most common formats (requires
QuickTime™), apply various tools and filters from the built-in
tool palette, or using the plug-ins supplied, and save your results
for use in other graphics software.
#WIN / JODI
OSS CD-ROM
Formulas / Photoshop
Plugins /Peter Luining
http://formulas.ctrlaltdel.org/
http://www.artificial.dk/articles/luining.htm
Suicide Letter Wizard
for Microsoft Word / Olga Goriunova, Data eXchange Laboratory
http://www.dxlab.org/slw/slw_download.htm
Suicide Letter Wizard for Microsoft Word helps you to create a suicide
letter according to your preferences.
Use professional design. Choose from a variety of styles. Make your
letter look great.
Text Editors
Sudden View / Sudden
Incorporated
http://www.sudden.net/
Sudden View is a draft tool for the art of editing text.
Sudden View is a simple yet powerful text editor for the Windows 32-bit
environment.
Sudden View allows you to see your work from a new dynamic perspective.
It allows you to spread text around the screen in the same way an artist
applies paint to a canvas.
Sudden View gives you the ability to Instantly Abstract the contents
of your text file in a visual and animated fashion. This provides a
variably condensed view of your work and can be very effective for navigation
and planning.
Virus
biennale.py / 0100101110101101.ORG
and epidemiC
http://www.epidemic.ws/prelease.txt
"The creation of a virus tout court, free and without an end or
a goal, is in the worst case a test, a survey on the limits of the Net,
but in the best case is a form of global counterpower, generally a pre-political
form, but one that resists the strong powers; it puts them under a new
balance, it shakes and reassembles them. A new idea of a 'virus that
is not just a virus' is gaining acceptance, and that it can represent
the outbreak of the social into the most social thing of all: the Net."
'biennale.py' was spread not only through machines but also through
men and women. It was for sale to adventurous curators and collectors.
To 'buy' an art virus is like betting on the future of its life-span,
real venture capitalism. Meanwhile, 'biennale.py' has got the attention
of popular virus scanning programs.
Conceived and compiled for the invitation to the 49th Venice Biennale,
"biennale.py" is the product of the collaboration of two entities,
0100101110101101.ORG and epidemiC, already known for other shocking
actions, often bordering with crime. "biennale.py" is both
a work of art and a computer virus.
The source code of the virus will be made public and spread on the opening
day of the Biennale, June 6th 2001, from the Slovenian Pavilion. The
main anti-virus software companies have already been informed about
the technical specifications of "bienale.py" and the disinstallation
instructions will be attached to the virus.
Ironic/Irational
2bit / Vista Software
In this age of multi-CD installations, how small can a computer program
be? This academic program answers that question, and is here mainly
for curiosity's sake. In fact, this is the smallest computer program
in the world.
So how big is it? 2 bytes. (hence the name "2-bit" - but there
is also an additional pun in there...). Although it's really 2 bytes,
not bits, "16 bits" doesn't sound as cool.It doesn't do anything
other than terminate. The screen image to the right shows the program
source code, how to compile it, its execution, in fact, everything regarding
the program. Ahh, the good old days....
_LINKS
The House That
Jack Built: Jack Burnham's Concept of Software as a Metaphor for Art
/ Edward A. Shanken
Software, Information Technology: Its New Meaning for Art / Primera
muestra de Software-art / 1970 - Jewish Museum - NY
http://www.duke.edu/~giftwrap/House.html
textos relativos
Software Art / runme
http://www.runme.org/categories/+text_-_software_art_related/
[Media Architecture]
Hello, World (about software art with love) / Olga Goriunova
http://rixc.lv/reader
Software Art Panel
- CONFERENCE TRANSCRIPTION / Media Arts Lab at Künstlerhaus Bethanien
In cooperation with transmediale.03
February 4th, 2003, Studio II
http://www.softwareart.net/transcripts/transcript_edited01.php
http://www.softwareart.net/transcripts/transcript_edited02.php
Read_me, run_me,
execute_me: Software and its discontents, or: It’s the performativity
of code, stupid! / Inke Arns
http://www.projects.v2.nl/~arns/Texts/Media/Arns-Article-Arhus2004.pdf
Browser-art / Brian
Mackern
http://netart.org.uy/browser-art/
Software Art / Florian
Cramer and Ulrike Gabriel
http://userpage.fu-berlin.de/~cantsin/homepage/writings/software_art/transmediale/software_art_-_transmediale.html
Transmediale 01
/ artistic software jury - full statement
http://www.transmediale.de/01/en/s_juryStatement.htm
read_me festival
1.2 // 1st Software Art festival
http://www.macros-center.ru/read_me/abouten.htm
RunMe / Software
Art Repository
http://runme.org/
dive into software
http://kop.fact.co.uk/DIVE/cd/software/index.html
PAUSE ART - PLAY
GAMES / Ricardo Duque
http://www.jstk.org/txt/games.html
Cracking the Maze
"Game Plug-ins and Patches as Hacker Art" / Anne-Marie Schleiner
http://switch.sjsu.edu/CrackingtheMaze/
GAME as CRITIC
as ART. 2.0 / Laura Baigorri
http://www.interzona.org/baigorri/textos/GAME.htm
Algorithmic Art
and Artificial Intelligence / Remko Scha with contributions by Jochem
van der Spek
http://iaaa.nl/cursusAA&AI/index.html
Artificial
http://iaaa.nl/artificial/main.html
Generative
http://www.generative.net/read/home
http://www.generative.net/links.cgi
Soundtoys
http://www.soundtoys.net/
CODEDOC
http://artport.whitney.org/commissions/codedoc/index.shtml
The Work of Art
in the Age of Mechanical Reproduction / Walter Benjamin (1936)
http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm
http://pixels.filmtv.ucla.edu/gallery/web/julian_scaff/benjamin/
The Work of Art
in the Age of Digital Reproduction BY An Evolving Thesis/1991-1995
Douglas Davis
http://cristine.org/borders/Davis_Essay.html
ManifestoDraft -
TOPLAP
http://toplap.org
--- --- ---
CV
Brian Mackern/1962/Uruguay
http://netart.org.uy
Director/editor de <artefactos
virtuales>, uno de los primeros espacios
virtuales latinoamericanos dedicados a la investigación, desarrollo
e
implementación de proyectos de netart [1996].
Desarrollador/diseñador
de diversos proyectos de arte net/cd y compositor de
estructuras y entornos sonoros autogenerativos/reactivos.
Sus trabajos, enfocados principalmente en estructuras de proceso, exploran
el diseño de interfaces, navegaciones alternativas, concatenaciones
aleatorias de eventos, estocástica, la creación de soundtoys
[objetos/interfaces sonoro visuales generativas/reactivas/interactivas]
y
animaciones video-data en tiempo real, netart y soundart.
Desde el año 2000
trabaja en la elaboración, organización y
estructuración de una database de netartistas latinoamericanos
[netart_latino database].
Participa en múltiples proyectos colaborativos.
Escribe artículos
referidos al browser-art, soundtoys, netart, software-art,
y dicta diversas conferencias y workshops en torno a estos tópicos
en
Uruguay, Argentina, España y México.
Ha compuesto música
para piezas de teatro, video/movies, y diseña
settings/entornos sonoros para performances.
Desde 1999 se desempeña
como video-data jockey dentro de muy diversos
entornos, realizando proyecciones en tiempo real y diseños visuales
específicos junto a artistas sonoros/músicos.
Sus ultimos trabajos han
sido presentados dentro del marco de la
'netart.org.uy / 2004 eurolatino tour', gira que incluyó Uruguay,
Argentina,
México, España, Italia, Korea.
Su obra ha recibido diversos reconocimientos institucionales:
[]3er Premio 11th INTERNATIONAL
MEDIA ART BIENNALE WRO 05
WRO Center for Media Art, Wroclaw, Polonia, mayo 2005.
[]Primer Premio Mejor Autor Multimedia, XI Canarias Mediafest
Las Palmas de Gran Canaria, España, 2004.
[]Mención de Honor, Ciberart Bilbao 2004
Bilbao, España, 2004.
[]Premio Apoyo a la Producción Artística MAD03
Madrid, España, 2003.
[]Primer Premio 50 Salón Nacional de Artes Visuales
Montevideo,Uruguay, 2002.
[]Mención de Honor, Virose and V_2 Contest, Ligações/Links/Liaisons
Porto, Portugal, 2001.
CV ampliado:
http://netart.org.uy/brian.html
...........................
brian_mackern
http://netart.org.uy/
http://no-content.net/
vibri@internet.com.uy
ICQ
1735845
...........................