Mon 23 August 2010
13:00–14:30h
Volkshochschule Dortmund, L 110

Moderated by Geoff Cox (gb)

1. 13:00h | Ivan Monroy Lopez (mx): "Print Soapbox"
2. 13:20h | Pall Thayer (is), Lon Dubinsky (ca): The Coded Aesthetic Experience
3. 13:40h | Doreen Hartmann (de): Computer Demos and the Demoscene. Artistic Subcultural Innovation in Real-Time
4. 14:00h | Morten Breinbjerg (dk): Poesis of Software Use. Music, Materiality and Live Coding

ISEA2010 Conference Proceedings | P11 Coded Art (PDF, 63.94 KB)

Ivan Monroy Lopez (mx)

"Print Soapbox"

A text that draws analogies between computer code and the medium of no-budget magazines. The text is pessimistic about utopian tendencies in software and in print. Still, it was published as a fanzine and the code that was written to design said: publication is free-as-in-freedom. The text is also research about tools for graphic design. The publication was designed from the command line using Groff and Perl. Both are somewhat atypical design tools. Groff is generally used for software documentation. The publication uses the NotCourier-sans font of the Open Source Publishing collective.

ISEA2010 Conference Proceedings | Print Soapbox (PDF)

Ivan Monroy is a mexican programmer and writer. Studied media at the Piet Zwart Institute, Rotterdam. Interested in programmatic print, and niche publishing. His new zine is called print soapbox. He will give you a copy if you just ask :-)

^^^

Pall Thayer (is), Lon Dubinsky (ca/qc)

The Coded Aesthetic Experience

Over the past couple of decades artists have increasingly resorted to using computer programming code to generate artwork. The fact that the creative medium of the artist is the human readable code should not be ignored for it would be logical to assume that the code holds information that may inform the work beyond that of a visual presentation of its output. Using a collection of code-based artworks titled Microcodes (Further Information: pallit) this paper documents a systematic examination of code-art by Pall Thayer and Lon Dubinsky.

ISEA2010 Conference Proceedings | The Coded Aesthetic Experience (PDF)

Pall Thayer is an Icelandic artist who has been active in the electronic and digital arts for over 10 years. He studied visual arts at the Icelandic Academy of the Arts and Concordia University in Montreal, Canada. He is currently employed at SUNY Purchase College in New York.

Lon Dubinsky teaches in the Studio and MFA program at Concordia University. He is also a research associate of the Kamloops Art Gallery and the Canadian Museums Association and an adjunct professor in the Department of Visual Arts at the University of Ottawa.

^^^

Doreen Hartmann (de)

Computer Demos and the Demoscene. Artistic Subcultural Innovation in Real-Time

The lecture deals with the demoscene (a digital subculture) and its artefacts: computer-generated audio-visual real-time animations. Through these computer demos, their producers burst technological boundaries, while creating a synaesthetic experience of the interplay of electronic images, animations and sounds. Defining the characteristic traits and depicting the historic evolution of the demoscene will shed light on the aesthetical, cultural and technological interdependency with other new/digital media art productions and show which role demos (might) play in the contemporary art scene.

ISEA2010 Conference Proceedings | Computer Demos and the Demoscene. Artistic Subcultural Innovation in Real-Time (PDF)

Doreen Hartmann studied Comparative Literature, Media Studies & Computer Science at the University of Paderborn (Germany), where she currently teaches Media Aesthetics and works on a Ph.D. thesis on the art of computer demos. Her research interests are digital media & (sub-)cultures and new media art.

^^^

Morten Breinbjerg (dk)

Poesis of Software Use. Music, Materiality and Live Coding

In my paper I will discuss the concept of poesis in relation to live coding, a contemporary art form in which music and visuals are programmed during performance. In live coding, we find a poesis, which neither belongs to man nor nature alone, as the classical understanding of poesis as either techne of physis imply. Instead it originates from ongoing processes of observation, interpretation, programming and computation between man and machine, between the analog and the digital world.

ISEA2010 Conference Proceedings | Poesis of Software Use. Music, Materiality and Live Coding (PDF)

Morten Breinbjerg is an associate professor with a Ph.D. in computer music aesthetics at the Institute of Information and Media Studies, Aarhus University, Denmark. His research is in the field of computer music, digital aesthetics and software culture.

^^^