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NEW-MEDIA-CURATING  March 2014

NEW-MEDIA-CURATING March 2014

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Subject:

Re: live coding research

From:

Paul Catanese <[log in to unmask]>

Reply-To:

Paul Catanese <[log in to unmask]>

Date:

Thu, 20 Mar 2014 14:58:43 -0600

Content-Type:

text/plain

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Parts/Attachments

text/plain (388 lines)

Love the conversation; delurking now.

I'm fascinated w/Live Code as a practice, and how there are requirements
for virtuosity; legibility of virtuosity; potential for failure; reception
of structure; interlacing of venue value systems; material rupture. Poorly
done live code, like other performances poorly done is quite exasperating;
though very bad theatre is a very specific real-time
cringe. Well done, viewers/audience can feel aloft; they may even be
aloft. Toplap is a fantastic resource - though I'd be curious to hear
about what specific artists/performers/performances that each of you
return to again and again / the exemplary works that you reference when
wanting to share this practice with others.

Barbara, I am intrigued by the notion of "performance" emerging from code
palimpsests; do you have specific examples of works to point us to that
speak to this?  I ask because the palimpsest is extremely evocative - the
description you give seems more of a look-up-table / a fusion of
maps/territories - though I suspect you mean it more broadly.

-paul







On 3/20/14 9:48 AM, "Paul Brown" <[log in to unmask]> wrote:

>See:  http://en.wikipedia.org/wiki/Heterarchy
>
>
>
>
>On 20 March 2014 14:55, Victoria Bradbury <[log in to unmask]> wrote:
>
>> Hi Barbara and list,
>>
>> So a diagram of this, then, would be a line made up of points, with no
>> hierarchy of parts or actions, so that each point can cross-reference
>>any
>> other.
>>
>>
>> 
>>.........................................................................
>>.............
>>
>> Victoria
>>
>>
>> On Tue, Mar 18, 2014 at 3:44 PM, Barbara Lattanzi <[log in to unmask]
>> >wrote:
>>
>> > Hi Victoria.
>> >
>> > First of all, I should not leave an impression of hierarchy.
>> >
>> > When you say
>> >
>> > "the possibility of interaction that creates another layer of
>> > representationof the code."
>> >
>> > This is actually opposite what I meant.
>> >
>> >  n other words, the goal is absolutely not the "representation of the
>> > code".
>> >
>> > Code is just one more representation among many.  And that is the
>>point.
>> >
>> > A loose analogy might be the Table of Elements, where new chemical
>> > elements are being continually added, either by discovery or creation
>>in
>> a
>> > lab somewhere.  In art, too, there is a continual adding of
>> newly-available
>> > forms of representation. Code is one of these.
>> >
>> > The key concept, absolutely central (and where the chemistry analogy
>> > breaks down), is that there is no fundamental representation in any
>> > artwork.  Code is not fundamental.  Pictures are not fundamental.
>>Actions
>> > are not fundamental, etc.
>> >
>> > What is the "true" representation?  The TopLap artists, I believe,
>>would
>> > say all of them and none of them.
>> >
>> > Where is the "true" representation?  It exist as - or among - a set of
>> > representations.  So, the only way to apprehend the representation is
>>to
>> > cross-reference one's experience of the set of them.
>> >
>> > What do you do when you cross-reference something?  Is it like
>> > cross-dressing???
>> >
>> > Sure!
>> >
>> > You inhabit and internalize different areas of the representation's
>>set
>> of
>> > external actualizations.  You navigate the internalized
>>representation.
>>  In
>> > one territory of actualization you see mountains and streams. In
>>another
>> > territory of the set, you see text that resembles English but is meant
>> for
>> > a machine.  In another territory you see a diagram of socio-political
>> > protocols that constrain the viewer.....etc.
>> >
>> > It is still one representation, but it is invisible.  But you can only
>> > perceive it as a palimpsest of its specific set of actualizations.
>>Your
>> > effort, as its audience, is to perceive it, i.e., to internalize the
>>set
>> of
>> > actualizations as a coherent entity.  Palimpsest is a metaphorical
>>way of
>> > describing the very material activity of cross-reference.
>> >
>> > You need perceptual know-how gained with experience.  Lesser
>>experience
>> > does not exclude anyone.  But there are rewards for the
>> > culturally-developed activity of cross-referencing those perceptions
>>and
>> > other forms of awareness (e.g., textual, institutional,
>> diagrammatic,etc).
>> >
>> > P.S.
>> >
>> > We cross-reference when we travel.  For example, I look at a map.  I
>> > remember an address.  I phone a friend of a friend to give me
>>landmarks
>> to
>> > look for.  I hold a ticket and identification. I try some unfamiliar
>> food.
>> > I snap a picture with a new friend, etc.  My internal representation
>>of a
>> > place of travel is a cross-reference of all these things at once.
>> >
>> > Barbara
>> >
>> >
>> >
>> > On Mar 18, 2014, at 10:42 AM, Victoria Bradbury <[log in to unmask]>
>> > wrote:
>> >
>> > > Hi Barbara.
>> > >
>> > > You talk here about layers of code as experience, from the code you
>> write
>> > > to the visual output that is interpreted through the eyes of a
>>viewer,
>> to
>> > >
>> > >
>> > > In this model, the participants' actions in the presence of the
>>coded
>> > piece
>> > > are just another abstraction of top-level code, above the high-level
>> > > programming language you are writing and above the imagery that
>> > "abstracts"
>> > > the written code from the viewer/participant.
>> > >
>> > > I like this leveling that you are creating between and among these
>> > layers -
>> > > with no need to stop at saying that the highest level of written
>>code
>> is
>> > > the end of the "code".  Code now continues to be code (albeit in a
>> > > different form) as it becomes image or as it becomes visitor
>> engagement.
>> > > It is still code when it becomes action, just at a higher and higher
>> > level
>> > > (I'm also itching to make a diagram of this to see it visually!).
>> > >
>> > > I am now stuck on your use of the term cross-referencing.  Can you
>> > explain
>> > > this further, maybe with an example of one of your works?
>> > >
>> > > And the audience's perceptual know-how - does this require a special
>> > > audience, or any person with the ability to perceive (ie: is
>>perceptual
>> > > know-how simply the use of the senses, or does it require other
>> skills?)
>> > >
>> > > Thanks for your thoughts.
>> > > Victoria
>> > >
>> > >
>> > > On Tue, Mar 18, 2014 at 12:22 PM, Barbara Lattanzi <
>> [log in to unmask]
>> > >wrote:
>> > >
>> > >> Hi Laura.
>> > >>
>> > >> It is a pleasure to have this impressive list of references.
>> > >>
>> > >> Here is a thought most closely related, maybe, to Roger Malina's
>>idea
>> > you
>> > >> cite...that live coding facilitating interconnections among art,
>> > science,
>> > >> and technology.
>> > >>
>> > >> As an artist teaching myself, mid-1990s, how to code, it occurred
>>to
>> me
>> > >> some very obvious things (in retrospect)
>> > >>
>> > >> 1.  that coding was a representation.
>> > >> 2.  that the processes being encoded were representations
>> > >> too...."registrations" at the level of the machine, plus objects in
>> the
>> > >> RAM-space of the computer constituting an invisibly communicating
>> > network.
>> > >> 3.  that layered "on top" of these were the bitmapped
>>representations
>> of
>> > >> what the viewer would see.
>> > >> 4.  that opening up the viewer to interactions could be an embodied
>> > >> different form of represention.
>> > >>
>> > >> Which was the "real", intended representation?
>> > >>
>> > >> The final insight for me, in my struggle to just wrap my head
>>around
>> > >> coding, was the realization that a representation could be a
>>matter of
>> > >> cross-referencing.
>> > >>
>> > >> In other words, in a situation of ever-proliferating, multiple
>> > >> representations of the "same thing" ((a singularity?)), forms of
>>human
>> > >> reception are reconfigured as processes of cross-referencing.
>> > >>
>> > >> A set of cross-references is my understanding of what a "real"
>> > >> representation is.
>> > >>
>> > >> That is why I was so excited to see the emergence of code
>>performance,
>> > >> such as TopLap collective's code performances in the early 2000s.
>>  Their
>> > >> performances gave the audience a clear passage to the act of
>> > >> cross-referencing as perceptual know-how.
>> > >>
>> > >> Representation emerges through process of cross-reference.
>> > >> Cross-reference is a process dependent on perceptual know-how of
>>the
>> > >> audience.
>> > >>
>> > >>
>> > >> Barbara
>> > >>
>> > >>
>> > >> vimeo.com/idiomorphics/videos
>> > >> wildernesspuppets.net
>> > >>
>> > >>
>> > >>
>> > >>
>> > >> On Mar 18, 2014, at 6:41 AM, Laura Plana Gracia <
>> > >> [log in to unmask]> wrote:
>> > >>
>> > >>>
>> > >>>
>> > >>> hello list. here some notes about live coding and research about
>>live
>> > >> coding facilitating interconnections among
>> > >>>
>> > >>>
>> > >>> thomas dreher - conceptual art and software art
>> > >>> http://iasl.uni-muenchen.de/links/NAKSe.html
>> > >>>
>> > >>> conceptual art - is a reference for live coding because operates
>> using
>> > >> instructions. art&language.
>> > >>>
>> > >>> inke arns - code as executable text
>> > >>>
>> > >>> 
>>http://www.medienkunstnetz.de/themes/generative-tools/read_me/print/
>> > >>>
>> > >>>
>> > >>> wittgenstein - was professor on philoshy and maths. among his
>>student
>> > >> allan turing. i use wittgenstein to underline the relations among
>> > language
>> > >> - philosophy - logic - maths - computer science.
>> > >>> http://www.turing.org.uk/publications/ex4.html
>> > >>>
>> > >>> john cage - received influences from orienal philosophy, i-ching,
>>he
>> > >> wrote music of changes, and develop first software.art:
>> > >> http://www.anarchicharmony.org/People/Culver/CagePrograms.html
>> > >>>
>> > >>>
>> > >>> live.coding performance:
>> > >>> -  innovation tool for change, implying movement,  non-objecthood
>> > >>> - indispensable for media literacy, pedagogy of code, or new
>>learning
>> > >> methodologies
>> > >>>
>> > >>> mcluhan, the medium is the message.
>> > >>>
>> > >>> roger malina, SEAD, network of science, engineering, arts and
>>design,
>> > >> states how important is to link art, science, technology. live
>>coding
>> > >> facilitates this structures.
>> > >>> http://sead.viz.tamu.edu/projects/research.html
>> > >>>
>> > >>>
>> > >>> steve dietz, in content - form - immaterial, states how curatorial
>> > >> practice is about translation and how translation is about
>>decoding /
>> > >> coding, here is an explanation about performativity of code,
>> > >> interpretation, dynamics, etc....
>> > >>> http://cont3xt.net/blog/?p=4750
>> > >>>
>> > >>> http://cont3xt.net/blog/?p=4750
>> > >>>
>> > >>> claude hallen, artist. explaning the sequence from maths to code
>> > >>> http://mathr.co.uk/blog/livecode.html
>> > >>>
>> > >>> http://mathr.co.uk/blog/2011-12-31_the_sky_cracked_open.html
>> > >>>
>> > >>>
>> > >>> language code text furtherfield
>> > >>>
>> > >>
>> >
>> 
>>http://www.furtherfield.org/blog/laure-les-aus/language-code-determinatio
>>n-indeterminacy-analogue-and-digital-systems
>> > >>>
>> > >>> language code exhibition conservas . it develops a structure of a
>> > >> workshop where suposed audiences where considered actors. roles of
>> > >> spectatorship change through learning, gaming, playing, or creating
>> > >>> http://lauraplanagracia.blogspot.co.uk/2011_03_15_archive.html
>> > >>>
>> > >>>
>> > >>> other exhibitions http://rhizome.org/announce/events/60374/view/
>> > >>> http://apexart.org/exhibitions/buechley.php
>> > >>>
>> > >>>
>> > >>> please share and comment. . . . . .
>> > >>>
>> > >>> laura plana gracia
>> > >>> Artist -  Curator - lecturer
>> > >>> electronic art - sound art
>> > >>
>> > >
>> > >
>> > >
>> > > --
>> > > // Victoria Bradbury
>> > > <PROJECTS> www.victoriabradbury.com
>> > > Researcher @ www.crumbweb.org
>> > > New Media Caucus <http://www.newmediacaucus.org> <CommComm>
>> > > Attaya Projects <http://attayaprojects.com> // Collaborator
>> >
>>
>>
>>
>> --
>> // Victoria Bradbury
>> <PROJECTS> www.victoriabradbury.com
>> Researcher @ www.crumbweb.org
>> New Media Caucus <http://www.newmediacaucus.org> <CommComm>
>> Attaya Projects <http://attayaprojects.com> // Collaborator
>>
>
>
>
>-- 
>====
>Paul Brown - based in the UK March to May 2014
>http://www.paul-brown.com == http://www.brown-and-son.com
>UK Mobile +44 (0)794 104 8228
>Skype paul-g-brown
>====
>Honorary Visiting Professor - Sussex University
>http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
>====

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