on media art software
DESCRIPTION
slides from CAC.4 Computer Art Congress. September 3, 2014. UFRJ, Rio de Janeiro, Brazil.TRANSCRIPT
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On Media Art Software
Dr. Everardo Reyes-Garcia
Université de Paris 13
!Slides available:
http://slidesha.re/1CqYHxa
UFRJ Rio de Janeiro, September 3, 2014.
CAC.4 | Organizers: M. Fragoso, T. Fraga, G. Nóbrega
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Artists have always created and adapted their own tools.
In the digital era, part of those tools can be recognized as
‘media art software’.
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• necessary for media artists to be considered as such?
• defines us as a community and field in front of other domains?
Are we perceived through the software we use?
• synonymous of multiple software and programming languages for
graphics and simulations (in the same way cinema has been
equated to Final Cut or photography to Photoshop)?
media art software
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Media Art Software as Media
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media art software != artistic software
• “artistic software is, first and foremost, software created for
purposes different than traditional pragmatic ones (…) they
are works of art in their own right” [ Gourinova & Shulgin, 2002 ]
• Artwork in form of software
• Software art
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• authoring tools, communication tools and social networks
• personal and professional production of media content
• the outcomes are expected to fulfill pragmatic purposes
media art software != media software
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“software holds a unique position among artistic media
because of its ability to produce dynamic forms, process gestures,
define behavior, simulate natural systems, and integrate other
media including sound, image, and text” [ Reas & Fry, 2008 ].
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• authoring systems where software applications and
programming languages interrelate and cooperate
• but also any software is a potential environment and
laboratory to create media artworks
• and immaterial and virtual technologies
Complexity of media art software
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Media Art Software and Culture
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• Software: aesthetic principles, concepts, or programs
• Hardware: formal embodiment of the actual art objects
Software as metaphor for art
[ Jack Burnham, 1970 ]
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• a series of ideological, historical, and political values
attached to the HCI
• power relations between the user and the way the software
acts as a model of action
Software as a form of digital subjectivity
[ Matthew Fuller, 2003 ]
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• If software simulates ideology, then such simulations might
be interrogated. Speculative software would be software that
reveals its processes as it enacts them
• it is necessary to go further down the GUI
Speculative Software
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Media Art Software
as Unit Operation
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• the task would be to make evident its diversity: the multiplicity of
objects and the complexity of their interactions with other objects
(including humans)
• making ontographs [ Bogost, 2012 ]
Software as unit operations
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some examples
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Poèmes Stein JP. Balpe, S. Szoniecky, E. Reyes, 2014
http://brooom.org/poemesStein/
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Poèmes Stein JP. Balpe, S. Szoniecky, E. Reyes, 2014
http://brooom.org/poemesStein/
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Ontographs of Processing 2 E. Reyes, 2014
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Conclusions and Proposals
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• document the traces of our software
• reflect on why we choose a particular media art software?
Ethical, political, aesthetically speaking
• recommend the best suited ‘media art software’. But to do that
maybe we need first a pool of media art software
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Should We Click ‘Save page’? Wikipedia List of Media Art Software
~200 software applications and languages
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it shows how software could behave differently, mainly through
ruptures of function. To understand such ruptures demands also
to understand how the software operates
Importance of software art
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Not only it is appealing to see and to interact with its elements, it
also represents the vision of another artist: how she thought the
names, icons, functions, and which algorithms were implemented
!
When we discover new software the mere production of ‘Hello
World’ is satisfying, but it is also important because it embraces
engagement
Aesthetics of media art software