{"title":"Editorial - CITAR Journal, Volume 9, No. 1","authors":"Jorge C. S. Cardoso","doi":"10.7559/citarj.v9i1.469","DOIUrl":"https://doi.org/10.7559/citarj.v9i1.469","url":null,"abstract":"","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"118 1","pages":"1"},"PeriodicalIF":0.2,"publicationDate":"2017-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Departing from the discourse on whether a specific (social, ethical) responsibility is attached to the creation and manipulation of algorithms, this article questions the prerequisite of having an identity of algorithms to which that responsibility could be attached. After showing that such identity is partly fictional due to the fact that algorithms are connected to other algorithms and their identity is always a selective reading of a series of transitions through which algorithms come into existence, the perspective is shifted to the algorithmic as the medium of algorithms and as the actual agential domain. This shift translates responsibility into the ability to respond to otherness and non-identity through sensitive forms of alignment. Comparing the algorithmic with the desiring-machines of Deleuze and Guattari, this article proposes that its dynamics of flows and interruptions could be artistically reflected as halting operations that controvert the superficial evaluation of algorithms, for example under the classical decision problem or halting problem. A possible strategy for making the inner dynamics perceivable is proposed through a balancing act between the credible and the incredible, the plausible and the implausible.
{"title":"Halting Operations for Algorithmic Alignment","authors":"Hanns Holger Rutz","doi":"10.7559/CITARJ.V9I3.416","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.416","url":null,"abstract":"Departing from the discourse on whether a specific (social, ethical) responsibility is attached to the creation and manipulation of algorithms, this article questions the prerequisite of having an identity of algorithms to which that responsibility could be attached. After showing that such identity is partly fictional due to the fact that algorithms are connected to other algorithms and their identity is always a selective reading of a series of transitions through which algorithms come into existence, the perspective is shifted to the algorithmic as the medium of algorithms and as the actual agential domain. This shift translates responsibility into the ability to respond to otherness and non-identity through sensitive forms of alignment. Comparing the algorithmic with the desiring-machines of Deleuze and Guattari, this article proposes that its dynamics of flows and interruptions could be artistically reflected as halting operations that controvert the superficial evaluation of algorithms, for example under the classical decision problem or halting problem. A possible strategy for making the inner dynamics perceivable is proposed through a balancing act between the credible and the incredible, the plausible and the implausible.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"7-20"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49469779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As digital technologies make a powerful impact on the production of space and software mediates most of our everyday activities, we find ourselves living, working and interacting in the common ground of code and space. The environmental diffusion of computing should be considered in relation to the increasing acceleration and simultaneity of socio-spatial and economic processes, characteristic conditions of a dynamic spatial ontology that evolved during the past decades, changing the ways we inhabit, design and think about our environments. By following the gradual hybridization of space and time, this essay investigates the ways in which software and communication networks infuse space with temporal qualities, enhancing its inherent mediality with successive layers of meaning. An account of this in urban scale is the endeavour of smart cities, a fluid field of tension and negotiation between centralized managerial visions and bottom-up participation and appropriation initiatives. Finally, as spatial production becomes increasingly transdisciplinary and the digital turn reaches a certain level of maturity, the role of the architect and the architectural object changes drastically. Cedric Price famously argued that the best solution to a spatial problem is not necessarily a building, but the question is still pending – could it then be code?
{"title":"Species of (Code) Spaces","authors":"Pinelopi Papadimitraki","doi":"10.7559/CITARJ.V9I3.426","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.426","url":null,"abstract":"As digital technologies make a powerful impact on the production of space and software mediates most of our everyday activities, we find ourselves living, working and interacting in the common ground of code and space. The environmental diffusion of computing should be considered in relation to the increasing acceleration and simultaneity of socio-spatial and economic processes, characteristic conditions of a dynamic spatial ontology that evolved during the past decades, changing the ways we inhabit, design and think about our environments. By following the gradual hybridization of space and time, this essay investigates the ways in which software and communication networks infuse space with temporal qualities, enhancing its inherent mediality with successive layers of meaning. An account of this in urban scale is the endeavour of smart cities, a fluid field of tension and negotiation between centralized managerial visions and bottom-up participation and appropriation initiatives. Finally, as spatial production becomes increasingly transdisciplinary and the digital turn reaches a certain level of maturity, the role of the architect and the architectural object changes drastically. Cedric Price famously argued that the best solution to a spatial problem is not necessarily a building, but the question is still pending – could it then be code?","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"59-69"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46162529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In conceptual art, the idea is not only starting point and motivation for the material work, it is often considered the work itself. In algorithmic art, thinking the process of generating the image as one instance of an entire class of images becomes the decisive kernel of the creative work. This is so because the generative algorithm is the innovative component of the artist's work. We demonstrate this by critically looking at attempts to re-construct works of early computer art by the re-coding movement. Thinking images is not the same as thinking of images. For thinking images is the act of preparing precise descriptions that control the machinic materialization of images. This kind of activity is a case of algorithmic thinking which, in turn, has become an important general aspect of current society. Art education may play an important role in establishing concrete connections between open artistic and more confined technological ways of thinking when thinking pro-gresses algorithmically.
{"title":"Think the Image, Don't Make It! On Algorithmic Thinking, Art Education, and Re-Coding","authors":"F. Nake, Susan Grabowski","doi":"10.7559/CITARJ.V9I3.458","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.458","url":null,"abstract":"In conceptual art, the idea is not only starting point and motivation for the material work, it is often considered the work itself. In algorithmic art, thinking the process of generating the image as one instance of an entire class of images becomes the decisive kernel of the creative work. This is so because the generative algorithm is the innovative component of the artist's work. We demonstrate this by critically looking at attempts to re-construct works of early computer art by the re-coding movement. Thinking images is not the same as thinking of images. For thinking images is the act of preparing precise descriptions that control the machinic materialization of images. This kind of activity is a case of algorithmic thinking which, in turn, has become an important general aspect of current society. Art education may play an important role in establishing concrete connections between open artistic and more confined technological ways of thinking when thinking pro-gresses algorithmically.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"21-31"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45240606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Self-modification is an ancient human practice; however, for the first time in history, technology is enabling us to modify our lives not only at an existential or experiential level, but also at an informational level. This paper discusses Foucault’s concept of “technologies of the self” as well as some of its recent interpretations within contemporary philosophy of technology. It shows how ICTs have opened new dimensions for humans to transform their bodies, minds, and self-conception. It argues that while ‘traditional’ self-modification is being revolutionised and popularised by ICTs, these systems are also exposing us to potent, and unintentional forms of ontological tinkering. Ultimately, this paper shows how Foucault’s concept can serve as a valuable tool for understanding contemporary human-technology relations.
{"title":"Technology and Self-modification: Understanding Technologies of the Self After Foucault","authors":"Rodrigo Hernández-Ramírez","doi":"10.7559/CITARJ.V9I3.423","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.423","url":null,"abstract":"Self-modification is an ancient human practice; however, for the first time in history, technology is enabling us to modify our lives not only at an existential or experiential level, but also at an informational level. This paper discusses Foucault’s concept of “technologies of the self” as well as some of its recent interpretations within contemporary philosophy of technology. It shows how ICTs have opened new dimensions for humans to transform their bodies, minds, and self-conception. It argues that while ‘traditional’ self-modification is being revolutionised and popularised by ICTs, these systems are also exposing us to potent, and unintentional forms of ontological tinkering. Ultimately, this paper shows how Foucault’s concept can serve as a valuable tool for understanding contemporary human-technology relations.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"45-57"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49075395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Generative art can be used for creating complex multisensory and multimedia experiences within pre-determined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy’s Theatre of Totality vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the Theatre of Totality’s scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound and man (“man” is replaced in this article with “human”, except where quoting from the author), with all the inherent complexities.
{"title":"Generative Theatre of Totality","authors":"P. Veiga","doi":"10.7559/CITARJ.V9I3.422","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.422","url":null,"abstract":"Generative art can be used for creating complex multisensory and multimedia experiences within pre-determined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy’s Theatre of Totality vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the Theatre of Totality’s scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound and man (“man” is replaced in this article with “human”, except where quoting from the author), with all the inherent complexities.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"33-43"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46936278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While interactive media and its interfaces are susceptible to interference on technical and human dimensions, this is rarely considered by theoretical models found in the literature for describing or designing interactive settings and interfaces. This research explores modalities of interference as it affects agency in interactive and performative settings, by analysing a selection of artworks where this phenomenon becomes evident. As observed through the works discussed, modalities of interference redefine successful interaction as discovery of new potential, providing wider latitude for creative expression and collaborative engagement. Paths towards an aesthetics of interference are found on practical and conceptual levels. Challenges are identified, such as the difficulty in mastering highly variable interference, its cumulative increase, and the impossibility of anticipating the full spectrum of possible interference. As an agent for increased affordance generation and wider operational ability, on technical and cognitive levels, interference is demonstrated to be a factor of required consideration for a more informed observation and configuration of interactive and performative experiences.
{"title":"Interference Modalities for Interaction and Performance Design","authors":"Luís Eustáquio","doi":"10.7559/CITARJ.V9I3.431","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.431","url":null,"abstract":"While interactive media and its interfaces are susceptible to interference on technical and human dimensions, this is rarely considered by theoretical models found in the literature for describing or designing interactive settings and interfaces. This research explores modalities of interference as it affects agency in interactive and performative settings, by analysing a selection of artworks where this phenomenon becomes evident. As observed through the works discussed, modalities of interference redefine successful interaction as discovery of new potential, providing wider latitude for creative expression and collaborative engagement. Paths towards an aesthetics of interference are found on practical and conceptual levels. Challenges are identified, such as the difficulty in mastering highly variable interference, its cumulative increase, and the impossibility of anticipating the full spectrum of possible interference. As an agent for increased affordance generation and wider operational ability, on technical and cognitive levels, interference is demonstrated to be a factor of required consideration for a more informed observation and configuration of interactive and performative experiences.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"71-82"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48044057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The esoteric class of programming languages, commonly called esolangs, have long challenged the norms of programming practice and computational culture. Esolangs are a practice of hacker/hobbyists, who don’t primarily think of their work as art. Most esolangs are experiential works; we understand the languages by writing code in them. Through this action, the logic of the language becomes clear. However, a smaller subset of esolangs make their point not through actively writing code, but instead by simply contemplating their rules. We can think of these esolangs as conceptual rather than experiential. Some are designed in such a way that they don’t allow any code to be written for them at all. By stepping away from usability, the conceptual esolangs offer the most direct challenge to the definition of programming language, a commonly used term which is surprisingly unspecific, and usually understood through utility, despite the fact that programming languages predate digital computers. This paper delves into the conceptual esolangs and looks at their challenge to the idea of programming languages.
{"title":"Language Without Code: Intentionally Unusable, Uncomputable, or Conceptual Programming Languages","authors":"Daniel Temkin","doi":"10.7559/CITARJ.V9I3.432","DOIUrl":"https://doi.org/10.7559/CITARJ.V9I3.432","url":null,"abstract":"The esoteric class of programming languages, commonly called esolangs, have long challenged the norms of programming practice and computational culture. Esolangs are a practice of hacker/hobbyists, who don’t primarily think of their work as art. Most esolangs are experiential works; we understand the languages by writing code in them. Through this action, the logic of the language becomes clear. However, a smaller subset of esolangs make their point not through actively writing code, but instead by simply contemplating their rules. We can think of these esolangs as conceptual rather than experiential. Some are designed in such a way that they don’t allow any code to be written for them at all. By stepping away from usability, the conceptual esolangs offer the most direct challenge to the definition of programming language, a commonly used term which is surprisingly unspecific, and usually understood through utility, despite the fact that programming languages predate digital computers. This paper delves into the conceptual esolangs and looks at their challenge to the idea of programming languages.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"83-91"},"PeriodicalIF":0.2,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42579296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fan translations are an important part of global fan subculture activity, intensified especially through the new media platforms which connect producers and consumers all around the globe. One recent trend within this category is that of English translations of Chinese online fictions. It is a newly emerging form of activity which takes place on blogs connected through a blogroll. Through these channels, fans comprising blog moderators, translators, and readers can engage in exchanges which add value to the appreciation of literature. Thus, it can be imagined as a ‘virtual settlement’ (Jones, 1997) after Anderson (1983)’s ‘imagined community’. Within this community, a further observation can be made about the mechanics of this practice. Like a game, the fans act as players where they negotiate rules regarding the production of translations. Given the community-centric nature of these websites, my paper outlines the formation of ‘illusio’, or “agreed rules of the game”, a concept introduced by Bourdieu. This is operationalised using Jarvinen (2007)’s framework, locating the nine elements of a ‘gamified practice’ within the interactions of this community, known as Shusheng Bar. The findings suggest that members of Shusheng Bar possess a shared history and connected future. The significance of this observation assists in understanding the dynamics of online subcultures.
{"title":"Game of Translations: Virtual Community doing English Translations of Chinese Online Fiction","authors":"R. Chan","doi":"10.7559/citarj.v9i1.263","DOIUrl":"https://doi.org/10.7559/citarj.v9i1.263","url":null,"abstract":"Fan translations are an important part of global fan subculture activity, intensified especially through the new media platforms which connect producers and consumers all around the globe. One recent trend within this category is that of English translations of Chinese online fictions. It is a newly emerging form of activity which takes place on blogs connected through a blogroll. Through these channels, fans comprising blog moderators, translators, and readers can engage in exchanges which add value to the appreciation of literature. Thus, it can be imagined as a ‘virtual settlement’ (Jones, 1997) after Anderson (1983)’s ‘imagined community’. Within this community, a further observation can be made about the mechanics of this practice. Like a game, the fans act as players where they negotiate rules regarding the production of translations. Given the community-centric nature of these websites, my paper outlines the formation of ‘illusio’, or “agreed rules of the game”, a concept introduced by Bourdieu. This is operationalised using Jarvinen (2007)’s framework, locating the nine elements of a ‘gamified practice’ within the interactions of this community, known as Shusheng Bar. The findings suggest that members of Shusheng Bar possess a shared history and connected future. The significance of this observation assists in understanding the dynamics of online subcultures.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"9 1","pages":"39-55"},"PeriodicalIF":0.2,"publicationDate":"2017-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47864923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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