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NEW-MEDIA-CURATING  March 2014

NEW-MEDIA-CURATING March 2014

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Subject:

Re: live coding research

From:

"Lattanzi, Barbara K" <[log in to unmask]>

Reply-To:

Lattanzi, Barbara K

Date:

Fri, 21 Mar 2014 16:53:05 +0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (302 lines)

Hi Victoria and everyone.

A connective diagram is of course one more representation among many, helpful for cross-referencing that is not an end in itself.

I think the jumping-off point is the most interesting point of the diagram, the boundary that points to an elsewhere....the unrepresentable that orders the set of representations... 

(e.g., a generative graphic, its underlying code, the way the perceptual know-how of the viewer is peculiarly activiated, the specific mapping of relevant psycho-social contexts of reception, etc.). 

Back to my original point....Where is the representation, if code is only a component of "it"?  A representation can only be approached as a cross-referencing (process of diagramming, rather than the crystallized diagram per se).

Basically, in terms of my work as a visual/media artist, I code because that is the kind of "dirty work" I like.  Being representation, it messes up the relationship to Representation.  I prefer the mess that code logic tends toward, whenever I find myself venturing too close to the sink-hole of a narrowly-defined aestheticizing process.  That this preference is shared with others like yourselves is a bonus!


Barbara


-----------------------
Barbara Lattanzi
vimeo.com/idiomorphics/videos
wildernesspuppets.net

________________________________________
From: Curating digital art - www.crumbweb.org [[log in to unmask]] on behalf of Victoria Bradbury [[log in to unmask]]
Sent: Thursday, March 20, 2014 10:55 AM
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] live coding research

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-determination-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

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