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
the possibility of interaction that creates another layer of representation
of the code.
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.
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
> 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
> 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:
> > live.coding performance:
> > - innovation tool for change, implying movement, non-objecthood
> > - indispensable for media literacy, pedagogy of code, or new learning
> > 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
> > 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
Researcher @ www.crumbweb.org
New Media Caucus <http://www.newmediacaucus.org> <CommComm>
Attaya Projects <http://attayaprojects.com> // Collaborator