Title: Softwarové umění: programování excesu
Source document: Musicologica Brunensia. 2012, vol. 47, iss. 2, pp. [23]-47
Extent
[23]-47
-
ISSN1212-0391
Stable URL (handle): https://hdl.handle.net/11222.digilib/125887
Type: Article
Language
License: Not specified license
Rights access
embargoed access
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
V diskurzu umění nových médií se setkáváme s nadprodukcí pojmenování této umělecké praxe. Produkce neologismů je pro tuto disciplínu natolik specifická, že můžeme mluvit o tekuté identitě diskurzu nových médií. Příspěvek je věnován specifikaci pojmu softwarové umění ve vztahu k jiným označením umění využívajícího digitální média, konkrétně počítačové umění a počítačem generované umění. Softwarové umění představíme jako disciplínu propojující matematické, poetické a metafyzické chápání komputace (A. Lovelace), jako diskurz osvobozující software z logiky čisté funkcionality ve prospěch jeho metaforické funkce (A. Turing), a jako uměleckou tvorbu zkoumající limity lidské i strojové racionality a imaginace, kterou můžeme nazvat extrémní programování nebo programování excesu.
In the discourse of new media art, we meet with overproduction of terms for the artistic practice. Production of neologisms is so characteristic for this discipline that we can talk about fluid identity of new media discourse. The paper is devoted to the specification of the concept of software art in relation to other terms referring to the digital media arts, specifically computer art and computer generated art. The software art will be presented as a discipline that links mathematical, poetic and metaphysical understanding of computation (A. Lovelace), as discourse, whose ambition is to free software from logic of pure functionality in favor of its metaphorical function (A. Turing), and as a creative activity exploring the limits of human and mechanic rationality and imagination in the forms of activities that can be called extreme programming, or programming of excess.
References
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[4] Baumgärtner, Tilman. Experimentelle Software. Telepolis. October 28, 2001. On-line: http://www.heise.de/tp/artikel/9/9908/1.html (rev. 15. 10. 2012).
[5] Batchen, Geoffrey. Elektricity Made Visible. Wendy Hui Kyong Chun -Thomas W. Keenan (eds.). New Media, Old Media: A History and Theory Reader. New York – Oxon: Routledge, 2006, p. 27– 44.
[6] Batchen, Geoffrey. Zviditelnění elektřiny v T. Dvořák (ed.) Kapitoly z dějin a teorie médií. Praha: AVU, 2010, s. 215 – 232.
[7] Cramer, Florian – Gabriel, Ulrike. Software Art. 15. srpna 2001. Dostupné on-line: http://www.netzliteratur.net/cramer/software_art_-_transmediale.html (rev. 15. 10. 2012).
[8] Cramer, Florian. Concepts, Notations, Software Art. 23. března 2002, Dostupné on-line: http://www.netzliteratur.net/cramer/concepts_notations_software_art.html (rev. 15. 10. 2012).
[9] Cramer, Florian. Batchen, Geoffrey. Elektricity Made Visible. Wendy Hui Kyong Chun -Thomas W. Keenan (eds.). New Media, Old Media: A History and Theory Reader. New York – Oxon: Routledge, 2006, p. 27– 44.
[10] Cramer, Florian. Words Made Flesh. Code, Culture, Imagination. Rotterdam: Piet Zwart Institute: 2005. On-line PDF kniha: http://www.netzliteratur.net/cramer/wordsmadefleshpdf.pdf (rev. 15. 10. 2012).
[11] Fuller, Matthew. Freeks of Number. In Geoff Cox & Joasia Krysa (eds.). Engineering Culture: 'The Author as (Digital) Producer'. New York: Autonomedia (DATA browser 02), 2005. On-line: http://www.spc.org/fuller/texts/freaks-of-number/ (rev. 15. 10. 2012).
[12] Fuller, Matthew. Softness: Interrogability; General Intellect; Art Methodologies in Software. Skriftserie. Center for Digital Aestetik-forskning. Nr. 13, 2006. Dostupné on-line: http://darc.imv.au.dk/wp-content/files/13.pdf (rev. 15.10.2012).
[13] Fuller, Matthew. Faulty Theory. Mchael Goddard – Jussi Parikka (eds). Fibreculture Journal, 17: unnatural ecologies. 2011. Dostupné on-line: http://seventeen.fibreculturejournal.org/ (rev. 15. 10. 2012).
[14] Hacking, Ian. The Taming of Chance. Cambridge: Cambridge University Press, 1990.
[15] Horst, Philipp. Code Poetry's Aesthetic WW(WEB). In Freitag, Kornelia – Vester, Katharina (eds.) Another Language: Poetic Experiments in Britain and North America. LIT Verlag, 2008.
[16] Jaromil: Digital Boheme. In I LOVE YOU, 2002. Katalog výstavy. On-line: http://web.archive.org/web/20081205025500/http://www.digitalcraft.org/index.php?artikel_id=292 (rev. 15. 10. 2012).
[17] Kittler, Friedrich: Code (or, How You Can Write Something Differently). In Matthew Fuller (ed.), Software studies \ A Lexicon. Cambridge – London: The MIT Press, 2008, s. 40 – 47.
[18] Knuth, Donald. E. The Art of Computer Programming. Vol. 1– 4. Addison-Wesley Professional, 2011.
[19] Krysa, Joasia. Ada Lovelace. Introduction / Einführung. dOCUMENTA (13). 100 Notes – 100 Thoughts, No. 055. Ostfildern: Hatje Cattz Verlag, 2012.
[20] Levy, Steven. Hackers: Heroes of the Computer Revolution. New York: A Delta Book, 1968.
[21] LeWitt, Sol. Paragraphs on Conceptual Art. Alexander Alberro – Blake Stimson (eds.). Concetual Art. A Critical Anthology.Cambridge-London: MIT Press, 2000, s. 12 – 16.
[22] Lieser, Wolf. Digital Art. China: h.f.ullmann, 2009.
[23] Manovich, Lev. The Language of New Media. Cambridge: The MIT Press, 2002.
[24] Menabrea, Luigi Federico. Skatches of the Analytical Engine Invented by Charles Babbage. A. Lovelace trans. and notes. Scientific Memoirs 3, 1843, s. 666 – 731.
[25] Myers, Gary. Tying Arrangements and the Computer Industry: Digidyne Corp. v. Data General Corp. Duke Law Journal Vol. 1985, No. 5 (Nov., 1985), pp. 1027–1056. Published by: Duke University school of Law. Dostupné on-line: http://www.jstor.org/stable/1372482 (rev. 15. 10. 2012). | DOI 10.2307/1372482
[26] Noll, Michael. The Digital Computer As a Creative Medium. IEEE SPECTRUM, Vol. 4, No. 10, October 1967, p. 89–95. Dostupné on-line: http://noll.uscannenberg.org/Art%20Papers/Creative%20Medium.pdf (rev. 15. 10. 2012) | DOI 10.1109/MSPEC.1967.5217127
[27] Noll, Michael. Human or Machina: A Subjective Comparison of Generated Picture. The Psychological Rec., Vol 16, January 1966, p. 1 – 10. | DOI 10.1007/BF03393635
[28] Oxford Dictionaries. Oxford University Press, 2012. Hesla: software, social software. On-line: http://oxforddictionaries.com (rev. 15. 10. 2012).
[29] Paul, Christiane. Digital Art. New York – London: Thames & Hudson, 2008.
[30] Petráčková, Věra – Kraus, Jiří a kol. Akademický slovník cizích slov. Praha: Academia, 2000.
[31] Peterson, Ivars: Software's Origin. Science News, 11.3. 2011.
[32] On-line časopis: http:www.sciencenews.org/view/generic/id/698/title/Softwares_Origin] (rev. 15. 10. 2012)
[33] Philipson, Grame: A Short History of Software. Routledge: 2004. Dostupné on-line: http://www.thecorememory.com/SHOS.pdf (rev. 15. 10. 2012).
[34] Sack, Warren. Memory. In Matthew Fuller (ed.), Software Studies \ A Lexicon. Cambridge - London: The MIT Press, 2008, s. 184–192.
[35] Snow, C. P. The Two Cultures and the Scientific Revolution. Cambridge, U.K.: Cambridge University Press, 1959.
[36] Szczepanik, Petr. (ed.) Nová filmová historie. Praha: Herman & synové, 2004.
[37] Triebe, Mark – Jana, Reena. New Media Art. Uta Grosenick (ed.) Köln: Taschen, 2006.
[38] Tukey, John W. The Teaching of Concrete Mathematics. American Mathematical Monthly. Vol. 65, No. 1 (Jan., 1958), Vydavatel: Mathematical Association of America. pp. 1–9, On-line: URL: http://www.jstor.org/stable/2310294 (rev. dne 15. 10. 2012). | DOI 10.1080/00029890.1958.11989128
[39] Turing, Alan M. On computable numbers, with an application to the Entscheidungsproblem. Proceedings of the London Mathematical Society. Ser. 2, Vol. 42, 1937, s. 230–265. | DOI 10.1112/plms/s2-42.1.230
[40] Turing, Alan M. Computing Machinery and Intelligence. Mind, LIX (236), 1950, p. 433–460.
[41] Wardrip-Fruin, Noah. Expressive Processing. Digital Fiction, Computer Games, and Software Studies. Cambridge – London: Themis Press, 2009.
[42] Weibel, Peter. The Apparatus World – a World unto Itself. D. Dunn (ed.) Eigenwelt der Apparate – Welt. Pioneers of Electronic Art. Katalog výstavy kurátorů W. Vasulky a S. Vasulky. Linec: Ars Electronica, 1992, s. 15 – 20.
[43] Weiss, Matthias. Microanalyses as a Means to Mediate Digital Art. In A. Bentowska-Kafel, T. Cashen, H. Gardiner (eds.) CHArt Yearbook 2006: Futures Past: Thirty Years of Arts Computing, Vol. 2, Bristol: Intellect Books, 2006, s. 13 – 24. Dostupné on-line: http://www.chart.ac.uk/chart2004/papers/weiss.html (rev. 15. 10. 2012).