The art of programming or programs as art (original) (raw)
Related papers
Art and Code: Programming as a Medium
2019
Computer programming is more than a tool for the artist. Writing code is manipulating a medium: a medium that is like no other. This chapter discusses the importance of coding and shows how it is enabling principled investigations into inventing new forms, creating new experiences and extending the nature of engagement with art works. It shows how formal ways of making art, from perspective to the 20th century use of systems, geometry and mathematics, have pointed to the value of programming. This is a direction that has defined the work of a range of artists. The chapter discusses the use of the medium of code by artists who talked about their art making process. They include pioneers Aaron Marcus, Harold Cohen and Manfred Mohr and other artists, some of whom are live coding practitioners.
Art, Design, and Mathematics: Software programming as artifice in the creative process
Design Culture(s). Cumulus Conference Proceedings Roma 2021, Volume #2, 2021
This article seeks to address the creative qualities of programming in an artistic context. When questioning the limitations of graphical interfaces, we can reflect on the contribution of Programming as a resource to go deeper into a creative process in the context of digital media, robotics, interactivity, generativity, and other possibilities. An exploratory research study was conducted through interviews with laboratory coordinators from educational institutions in Rio de Janeiro, who have explored the possibilities between Art and Technology for at least a decade. Among the main findings that mark the creative process are experimentation and multidisciplinarity. Distaste for Mathematics appears as the main barrier to the insertion of Programming in an artistic context.
Computer art: software art design
2021
El artículo presenta trabajos artísticos desarrollados en el Computational Art Research Laboratorio Media Lab / UnB, realizado en equipo, bajo mi coordinación. La producción artística y teórica buscaba defender la idea de que el arte computacional es una nueva forma de arte apreciado, basado en el supuesto de que contiene muchos de los componentes de una filosofía completa de una forma de arte, que se puede resumir en cuatro referencias básicas: una definición, una ontología, características estéticas y el reconocimiento de su condición de arte. Lo que actualmente se llama arte computacional se basa en la observación de que los experimentos en este dominio implican problemas comunes más generales, in statu nascendi, a los dominios artísticos y tecnocientíficos, que proporcionan los modos de estructuración, la metodología y las técnicas de programación, introducidas en el proceso. El arte computacional no siempre usa la computadora, a veces es basado únicamente en operaciones lógico‐...
Lecture Notes in Computer Science
This study is to define aesthetic elements of the programming in the computer-based media art. It can be explained as the totality of the concept and reality in the respect of collaboration of art and science. The programming as aesthetic object deconstructs the traditional notion of art that the aesthetic value is determined by the aesthetic attitude. The code is not just for the computer programming, but for the pleasure. The artistic and creative 'Open Code' must be at the cost of the death of the code closed in a signified, and it lives, improves and changes through additional new functions or algorithms. Like the conceptual art, the programming is both a dematerialization of the object and an immaterialized meaning. It leads us to change the seat of a subject as a signifier. Therefore, 'The beauty of program that is not there' becomes more viable when it involves the application of aesthetics.
Conceptual framework for the intersection of software and art
2008
Abstract The interaction between art and technology, especially computing technology, is an increasing trend in the recent days. The context of this intersection is growing in numbers, size and aspects each year. The number of artists participating in multimedia software or games development projects is continuously increasing and so is the number of software engineers participating in art projects like interactive art installations.
In the right order of brush strokes: a sketch of a software philosophy retrospective
SpringerPlus, 2014
This paper follows a discourse on software recognized as a product of art and human creativity progressing probably for as long as software exists. A retrospective view on computer science and software philosophy development is introduced. In so doing we discover parallels between software and various branches of human creative manifestations. Aesthetic properties and mutual dependency of the form and matter of art works are examined in their application to software programs. While exploring some philosophical and even artistic reflection on software we consider extended comprehension of technical sciences of programming and software engineering within the realm of liberal arts.
Conceptual Art and Software Art: Notations, Algorithms and Codes
Self-replicative and generative codes have been developed in Software Art. Intermedia Art´s relations between notation and realisation are expanded by new mutations in relations between readable code and computer processing: Examples of program codes appear as the next step after formalizations of verbal concepts in Dada, Fluxus and Conceptual Art. And on the other hand: These formalized notations can be presented as precursors of Software Art. Lecture, Literatur und Strom: Code Interface Concept, Literaturhaus Stuttgart, 11/11/2005. Published in "IASLonline Lessons in NetArt". URL: http://iasl.uni-muenchen.de/links/NAKSe.html With ppt-illustration line [9 MB] (December 2005/English translation: March 2007). URL: http://iasl.uni-muenchen.de/links/NAKSe.ppt
Risking Code: The Dilemmas and Possibilities of Software Art (2008)
ii iii Preface This monograph represents the written portion of a PhD thesis which focused on the contemporary field of software art. The other portion of the study was a set of five creative new media works. At one level these works provide examples of software art, but at another level they raise questions concerning the nature and boundaries of the genre. Rather than imagining a clearly delineated and integral aesthetic field, my focusat both a practical and theoretical level -is upon exploring dimensions of discomfort, uncertainty and opening.
Instrumental relations: software as art, art as software
2007
Software art is characterised by a close concern with the culture of software and the medium of programming. This inevitably demands an engagement with the terrain of the instrumental; software is a sphere of tool-making and programming is governed by conceptions of functional (and generic) utility. Yet where does this leave art? If, in Kantian terms, art is defined by its uselessness (by its lack of any externally grounded necessity) and if, in classical critical theoretical terms, this alienation from function opens up a space of critique, then how can art explore and participate within the instrumental without abandoning its fragile critical autonomy? This paper addresses this question, drawing upon Heidegger's conception of technology and Plato's conception of poesis to argue that critical software art can not simply oppose the instrumental character of software; instead it must acknowledge its own complicity in the operations of hiding and unreflective functioning that characterize the instrumental once the latter is re-conceived apart from the simplicity of human agency and humanly determinable ends. I examine one of my own software projects as a means of clarifying the dilemmas of critical aesthetic purchase that emerge as a result of this engagement with the instrumental dimension of software.