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| digital_art_and_the_glitch [2011-10-19 18:36] – uivbRgsGQjghaPDCZ 109.230.216.225 | digital_art_and_the_glitch [2011-11-03 09:28] (current) – alkan | ||
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| - | Yo, that's what's up trutfhully. | + | < |
| + | |||
| + | <b class=" | ||
| + | |||
| + | <table border=" | ||
| + | < | ||
| + | <td colspan=" | ||
| + | < | ||
| + | < | ||
| + | |||
| + | & | ||
| + | solve a problem with the same kind of thinking that created it.& | ||
| + | -- A. Einstein </ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | digital art from art pursued in another medium by the intrinsic dependence on computers | ||
| + | for its realisation.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | seriously, it must take its technology seriously, because it is the computer which | ||
| + | realises the signal we are calling art. And the nature of the computer, of technology, | ||
| + | is that it breaks down. Programs run out of memory, systems crash, information is | ||
| + | garbled as it falls before the cursor. | ||
| + | < | ||
| + | |||
| + | Wandering through a digital-art gallery, the visitors are not surprised seeing _yet | ||
| + | another_ ' | ||
| + | end of a hyperlink. Although occuring in many artworks unintentionally, | ||
| + | recognise the glitch as a substantial part of their artwork. We have encountered | ||
| + | two main approaches to the use of glitch in d-art: | ||
| + | < | ||
| + | |||
| + | 1. glitch as d-art aesthetic, an aesthetic that plays with errors and noise in the | ||
| + | presentation of the artwork | ||
| + | < | ||
| + | |||
| + | 2. glitch as a component of the creative process, where the software/ | ||
| + | conflicts play a necessary (even if unexpected part in the generation of the artwork. | ||
| + | The ongoing pursuit of (artistic) development becomes a performance in itself. Here | ||
| + | the glitch is a driving force for a play between the human and the machine, while | ||
| + | the outcome is simply a fleeting target, that can be adjusted and even radically | ||
| + | changed on the fly. | ||
| + | < | ||
| + | |||
| + | As computer systems become increasingly complex, resembling more complete worlds | ||
| + | than mere tools, the processes that make them work are far beyond the reach of people | ||
| + | who do not participate in the actual technology development. | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | called & | ||
| + | but we don't know how. It is hidden, incomprehensible; | ||
| + | need to deal with it on a day-to-day level. | ||
| + | < | ||
| + | |||
| + | The modern computing environment is a seamless landscape of point' | ||
| + | field of buttons and bright links. And it has a strict behavioural grammar&# | ||
| + | are all so accustomed to the WIMP interface that we are often unaware of this. | ||
| + | < | ||
| + | |||
| + | & | ||
| + | You need a trigger-happy mouse finger. | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | windows, the viewer is drawn into the seductive world of digitised catalogs, where | ||
| + | content remains trapped in the clutches of stereotypical ' | ||
| + | design and is iconised to flashy hotspots, screaming next to a Buy button. | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | mapped to the digital: an ocean of electronic books, magazines, tv and radio-stations | ||
| + | is flooding the little that is left of experimental digital interface design.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | or Fanta from a soft-drink machine.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | billboards, | ||
| + | a whole new realm, but as a swarm of virtual blurbs, conceived as small, self contained | ||
| + | units, buzzing around our heads 24/7. | ||
| + | < | ||
| + | |||
| + | An example: Yahoo is advertising their new web-site and internet service: Yahoo travel | ||
| + | in San Francisco through a huge billboard that shows the yahoo interface in the american | ||
| + | 50ies style' All blue and pink and glowing neon lights. Saying please, trust us, | ||
| + | don' | ||
| + | world of Safe Travel& | ||
| + | world the easy way. A window into virtuality, that will take you back into the isolation | ||
| + | of your home, where the whole world speaks your language.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | to progressively reveal a hidden meaning. From Grolier' | ||
| + | mainstream multimedia is about seamless content retrieval. | ||
| + | < | ||
| + | |||
| + | We rarely come in contact with the world behind the screen, the reams of code, the | ||
| + | protocols and puppet strings. The information which creates this landscape for us.< | ||
| + | |||
| + | < | ||
| + | include in text absorb:: | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | burden of the interface. And the interface has nested itself on the surface of the | ||
| + | screen, and appears to be paralysed in that position, not allowing the general user | ||
| + | to discover the layers behind it. The interface must be violated. Scratched and cracked | ||
| + | or pulled out of the screen into the physical space so that its borders become elastic | ||
| + | and transparent, | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | entity... it has its origins in cybernetics, | ||
| + | is interpenetrated by ethereal & | ||
| + | and controlled. It is a fragile entity.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | new-economy is based. Information is a buzz-word used to guarantee the objectivity | ||
| + | of the virtual free-market. However, if its building blocks are so ethereal, this | ||
| + | economy is much more inconsistent, | ||
| + | < | ||
| + | |||
| + | There is a huge glitch between reality and virtuality. They are two separate entities, | ||
| + | where the digital realm somehow became independent from the world in which it originated. | ||
| + | The two worlds are mapped onto each other, but are not truly interacting. Instead | ||
| + | of making the technology a part of our life, we made our life a part of the technology. | ||
| + | A statistic with which more statistics can be calculated. | ||
| + | < | ||
| + | |||
| + | Did you know that various corporations are already madly attempting to estimate of | ||
| + | your life-value from the minute that you are born? That they are going to target | ||
| + | their advertisement campaigns directly to you, based on the statistical information | ||
| + | that they carefully collected while you were sound asleep with your bottled water | ||
| + | of brand X next to your bed and a book from an e-bookstore on your chest. And they | ||
| + | will tell you that it is scientifically proven that this new product has been chosen | ||
| + | for you based on objective information. The opposite is true: understanding the chaotic | ||
| + | laws of hypercapitalism means understanding that information is the contrary to absolute, | ||
| + | objective or stable.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | with no materiality, | ||
| + | its context, from its body. Ideally, it is infinitely reproducible. Like zeros and | ||
| + | ones in a computer program. | ||
| + | < | ||
| + | |||
| + | And this is important: we are speaking about cybernetics because it is more than | ||
| + | a metaphor, more than rhetoric, because it works. Computers are cybernetic systems. | ||
| + | They store, create and retrieve this & | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | < | ||
| + | |||
| + | & | ||
| + | of physics and materiality that makes both mind and cyberspace possible | ||
| + | < | ||
| + | |||
| + | .... limits itself to making isolated conventional forms in conventional space, dressing | ||
| + | them in rhetorical conceit, and leaving the world unchanged.& | ||
| + | M. Novak</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | of the signal. It is the corollary of information. | ||
| + | < | ||
| + | |||
| + | Noise interferes with perfect reproduction, | ||
| + | translation from code to code. Viruses, errors and incompatabilities--these insert | ||
| + | change into fragile patterns, the web page we are trying to download, the program | ||
| + | we are trying to run. | ||
| + | < | ||
| + | |||
| + | Noise is the enemy of the seamless interface.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | are a part of. It removes the interface and leaves the users helpless.... while they | ||
| + | are listening to the same message for the 50th time: All our help-desk collaborators | ||
| + | are busy. Please hold the line. | ||
| + | < | ||
| + | |||
| + | & | ||
| + | noise, the only possible source of new patterns.& | ||
| + | < | ||
| + | |||
| + | -- Bateson, Mind and Nature - A Necessary Unity, 1979</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | to reflect on how the tool system is shaping us, on how arbitrary its behavioural | ||
| + | and procedural grammar is. | ||
| + | < | ||
| + | |||
| + | I'm here to talk about artists who work with noise and error, the corollary of information.< | ||
| + | &# | ||
| + | </ | ||
| + | </ | ||
| + | < | ||
| + | <td width=" | ||
| + | <p style=" | ||
| + | here to talk about the glitch as a process: where the participants do not represent, | ||
| + | but perform, infect each other&# | ||
| + | and errors. Using glitches, interaction becomes more insipred drifting within inter-reality | ||
| + | membranes and less a predefined menu browsing of digitized shop-windows. The glitch | ||
| + | as last resort without a shopping mall attached to it. A forest of live wires.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | < | ||
| + | |||
| + | This is what we mean by & | ||
| + | the fragility of information as a cybernetic entity. | ||
| + | < | ||
| + | |||
| + | The glitch interferes with perfect reproduction. It interferes with the goal of a | ||
| + | seamless, | ||
| + | and pattern itself.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | And it is exactly in this space where d-art can function as a subversion of the polished | ||
| + | make-believe future of the information era.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | by the point' | ||
| + | < | ||
| + | |||
| + | You will notice in some of the examples we give you that the code usually hidden | ||
| + | from the computer user seems to wriggle its way to the surface of the screen, that | ||
| + | the behavioural protocols encountered in mainstream multimedia either don't work | ||
| + | or don't apply. | ||
| + | < | ||
| + | |||
| + | Their navigational systems often mimic and parody the modes of sorting and accessing | ||
| + | information on the web. They are an attack on the assumed functionality, | ||
| + | and & | ||
| + | code drawn from the innards of computer hardware and set loose across the surface | ||
| + | of the screen, code as an end in itself. Miles from the glossy, java-enabled, | ||
| + | & | ||
| + | &# | ||
| + | < | ||
| + | The word interaction has been reduced to pointing, clicking, | ||
| + | scrolling and dragging of cute moving objects on the screen. | ||
| + | < | ||
| + | |||
| + | Let me give you a couple of definitions of the word interaction: | ||
| + | < | ||
| + | |||
| + | 1. Mutual or reciprocal action or influence; as, the interaction of the heart and | ||
| + | lungs on each other. | ||
| + | < | ||
| + | |||
| + | 2. Transfer of energy between elementary particles or between an elementary particle | ||
| + | and a field or between fields | ||
| + | < | ||
| + | |||
| + | Does any of this happen when interacting with web-pages? There is a lot of theory | ||
| + | around what happens when a person hits a link, but essentially, | ||
| + | mutual influence here is that your pockets are being emptied and their filled. | ||
| + | < | ||
| + | |||
| + | And this has to happen as seamlessly as possible, so that your credit card number | ||
| + | floats weightlessly to their database. I had the most revealing experience trying | ||
| + | to purchase software from MASCHIN3NKUNST. The site was messing with me until I got | ||
| + | to the purchase form, where I truly did hesitate a second before I entered my credit | ||
| + | card number. Only because the interface was playing with web-protocols and error | ||
| + | messages. Only because they showed me explicitly how fragile the system actually | ||
| + | is.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | this as computer users.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | ' | ||
| + | ' | ||
| + | ' | ||
| + | 'It just rearranged my boxes!'< | ||
| + | ' | ||
| + | 'No backup!!!!!'</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | at any time we change the parameters of the & | ||
| + | automatically render the remainder & | ||
| + | < | ||
| + | |||
| + | Information lapses in and out of comprehensibility. | ||
| + | < | ||
| + | |||
| + | This is what I mean by the & | ||
| + | hidden from us.</ | ||
| + | </ | ||
| + | < | ||
| + | <td width=" | ||
| + | |||
| + | < | ||
| + | an end in itself, where the user still cannot engage in a generative proces with | ||
| + | the machine. The glitch should be viewedas something anchored in the same system | ||
| + | as information, | ||
| + | society, the glitch is an essential part of our world as well, not simply an adjunct | ||
| + | to an aesthetic movement. | ||
| + | < | ||
| + | |||
| + | The GUI interface is set on top of the machinic universe in order to make the user | ||
| + | more efficient and comfortable. The multidimensional topologies that could emerge | ||
| + | from the collaboration between the human and the machine have been prematurely bound | ||
| + | to the cartesian system of x-y (and unconvincingly to z) coordinates and binary responses. | ||
| + | In today' | ||
| + | linear control. Control that does not account for noise in its predetermined course | ||
| + | of action. The noise is the complaint of a spoiled, irresponsible child.< | ||
| + | </ | ||
| + | < | ||
| + | |||
| + | | ||
| + | |||
| + | & | ||
| + | & | ||
| + | & | ||
| + | & | ||
| + | |||
| + | & | ||
| + | restraints is noise, the only possible source of new patterns.& | ||
| + | 1979 when i was 1 + making 01 ultra noise. </ | ||
| + | </ | ||
| + | < | ||
| + | of unparsable and corrupt code seem to lampoon the transmission of web-based sound, | ||
| + | text and graphics. | ||
| + | < | ||
| + | |||
| + | Hyperlinks lead nowhere, a keystroke activates a hidden script which renders the | ||
| + | entire page gobbledigook. | ||
| + | < | ||
| + | |||
| + | If you've ever tried to work your way through ;:;:; | ||
| + | mouse finger and a desire to extract meaning, you'll understand what I mean.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | machinic universe in which we spend most of our days. However, the machine is usually | ||
| + | silent, or better said, muted by the interventions of software and multimedia designers.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | mentioning, | ||
| + | < | ||
| + | |||
| + | ;:; :; : was started in ;:,:,::;:; | ||
| + | is famous for mercilessly crashing browsers around the world. It is also famous for | ||
| + | turning the familiar web interface inside-out. | ||
| + | < | ||
| + | |||
| + | It deploys the hidden codes and glyphs of Internet protocol as central aesthetic | ||
| + | components, | ||
| + | put to work in the world enabling largely banal content.</ | ||
| + | < | ||
| + | </ | ||
| + | < | ||
| + | <td colspan=" | ||
| + | access', | ||
| + | protocols and constraining interaction methods..... and above all, where we can wash | ||
| + | away the content that has polluted both physical and virtual reality before they | ||
| + | had a chance to evolve and grow closely together.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | rests uncomfortably in the encyclopaedic world of the web. | ||
| + | < | ||
| + | |||
| + | There is no central meaning, no content to be progressively unveiled. | ||
| + | < | ||
| + | |||
| + | Just lots of peripheral visions.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | where we can expect unpredictable interaction to happen. When we move away from the | ||
| + | well known paths. Where we don't know what to expect.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | with incompatibilities and error messages, machines speaking to machines in a language | ||
| + | we don't speak.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | not exist</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | desktops and elevators does not exist.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | not exist</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | page after page of apparently incomprehensible code.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | and the machine spits out all the complaints, that's when we start to interact, trying | ||
| + | to comprehend both the machine proceses and the brain-waves of its creators. Here | ||
| + | our worlds truly meet, and we engage in clumsy negotiations, | ||
| + | each-other' | ||
| + | through which the two realities warp into a hybrid tangled one.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | a grid of luminous green lines and fragments of machine code across the page. Memories | ||
| + | of Commodore 64 meltdown. | ||
| + | < | ||
| + | |||
| + | As with all ;:::,:; sites, the index is particularly random, and plays on the user' | ||
| + | feeling of being lost in hyperspace after all, most of the time spent on the web | ||
| + | is useless shuffling.</ | ||
| + | </ | ||
| + | < | ||
| + | <td colspan=" | ||
| + | < | ||
| + | meaning of the unknown world by allowing it to influence our progression. The roads | ||
| + | are not built for us, we make them up and draw their maps as we go along. | ||
| + | < | ||
| + | |||
| + | The computer is not a representation machine. It is a performance machine, engaged | ||
| + | in shaping of itself through a generative process..... and most of its generation | ||
| + | depends on our parameters and variables.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | hyperlinks, | ||
| + | to the site. Actually, they belong to the technology.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | We ask questions, the technology answers, but it answers with something which we | ||
| + | fed into it.... and we fed into it a rigid, mapped and marked structure of reality, | ||
| + | one which does not respond to the living world. | ||
| + | < | ||
| + | |||
| + | Error during translation: | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | It draws attention to the constructed nature of information, | ||
| + | us. | ||
| + | < | ||
| + | |||
| + | useless shuffling</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | physical and informational reality was the bombing of the Chinese embassy in Belgrade, | ||
| + | where the obsolete maps served as a tactical excuse in a heavily technologically | ||
| + | monitored zone. | ||
| + | < | ||
| + | |||
| + | topographical amnesia | ||
| + | < | ||
| + | |||
| + | We are told that Nato's ' | ||
| + | due to the mission' | ||
| + | there.< | ||
| + | |||
| + | Topographical data previously collected from the site became digitally partitioned | ||
| + | from the altering physical field and in an ironic return redescribed itself back | ||
| + | onto the original surface with the conviction of ammunition.< | ||
| + | Present culture confesses the relative, inherently representative condition of the | ||
| + | photo-graphic image, yet it's authority is uncontested within the self determination | ||
| + | of the military/ | ||
| + | suggests that it need not have any responsibility to its field for military and market | ||
| + | agendas. This forgetful office between an object and its representation cannot be | ||
| + | as succesfully exploited by the recorded sound, which, in order to be experienced, | ||
| + | must re-manifest in/as a continuum of material events fundamentally vunerable to | ||
| + | acoustic and mnemonic contingencies. This innate re-modelling of the recorded subject | ||
| + | in playback threatens any investment in an aural substitution of objecthood. Anyway, | ||
| + | we have made sound busy with its own substitution - music stands in for the rememebring | ||
| + | of sound. | ||
| + | < | ||
| + | |||
| + | -- delire 18.5.99 </ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | like a virus. | ||
| + | < | ||
| + | |||
| + | It brings us back to the surface, to an awareness of the tools which are progressively | ||
| + | colonising us.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | would say: to an awareness of the market whose tools are progressively colonising | ||
| + | us. The machine is _not_ a colonial being. Humans are. Especially humans striving | ||
| + | for power. Money. Speed. Even culture is not a safe haven any more. Reduced to bits, | ||
| + | interchangeable and reproducible, | ||
| + | name for a new commodity: cultural capital.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | viruses, error, the glitch, because it's not. But the projects which have inspired | ||
| + | me, from which I have composed my own personal ' | ||
| + | are. | ||
| + | < | ||
| + | |||
| + | The next piece I want to talk about is MindVirus, an electronic magazine from Adelaide, | ||
| + | Australia. It was created by a group of artists called ;.;..:;;: , and the first | ||
| + | edition came out in 1994. | ||
| + | < | ||
| + | |||
| + | The CD-ROM was distributed in plastic agar-jelly dishes with & | ||
| + | stickers on the top. I don't think any of us ever really knew what they were on about. | ||
| + | < | ||
| + | |||
| + | MindVirus involves navigational skills and sensory apparatus that have been written | ||
| + | out as incidental in mainstream multimedia. | ||
| + | < | ||
| + | |||
| + | Sound, pattern-recognition, | ||
| + | to the navigational experience. | ||
| + | < | ||
| + | |||
| + | In MindVirus ;:,.;:;:, after I'd spent a couple of hours watching fish swim backwards | ||
| + | across the screen, I was given the option of pressing & | ||
| + | of strange interfaces and alternative paradigms.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | in terms of presentation. However, strange and unexpected interfaces can draw the | ||
| + | participant into the generative process of the work (the constructuion of the now). | ||
| + | The one interface that many people don't know how to operate any more is their own | ||
| + | body. When the coming into existence of a responsive reality depends on being conscious | ||
| + | of their bodies, movements and physical social interaction, | ||
| + | when they freeze, so does the time and space of the responsive environment. The synthesis | ||
| + | is interrupted.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | button began to blink and skid across the screen in a most user-unfriendly fashion, | ||
| + | with my cursor in hot pursuit. | ||
| + | < | ||
| + | |||
| + | In MindVirus 3.7, the reader is presented with a pair of monekys involved in an inexplicable | ||
| + | cue-card experiment as they try to access & | ||
| + | < | ||
| + | |||
| + | Habitual point' | ||
| + | < | ||
| + | |||
| + | The monkeys, it seems, are conducting a psychological experiment on the faceless | ||
| + | & | ||
| + | to coloured links? | ||
| + | < | ||
| + | |||
| + | Another electronic magazine from the mid-nineties is called I/O/D, | ||
| + | < | ||
| + | |||
| + | Some of you may remember this. | ||
| + | < | ||
| + | |||
| + | In I/O/D2, the opening screen is black, | ||
| + | < | ||
| + | |||
| + | its field of links and hotspots dead to the eye. On touching the mouse, the user | ||
| + | finds that she affects the sound emanating from the speakers. Slight movements introduce | ||
| + | new bass loops and interstellar bleeps. | ||
| + | < | ||
| + | |||
| + | After a while, she discerns that the key navigational organ is the ear-- | ||
| + | < | ||
| + | |||
| + | she must re-adjust herself to a sound-based interface.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | if it is buried under the surface of the screen, or when it bleeds off its edges. | ||
| + | Especially with sound-based interfaces, that do not allow distracted clicking, an | ||
| + | engaged involvement is demanded. Sound moves in and out of existence, and does not | ||
| + | tolerate slack. Movement through sound is much more continuous then movement through | ||
| + | a visual interface. The total user control is impossible, as different timelines | ||
| + | intersect. The interaction becomes more a free play in time and less a rule baseg | ||
| + | game in space.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | these noises or are they pre-programmed? | ||
| + | user' | ||
| + | < | ||
| + | |||
| + | Is it broken, or is it meant to sound like that? | ||
| + | < | ||
| + | |||
| + | That' | ||
| + | program, Sonicform. | ||
| + | < | ||
| + | |||
| + | Sonicform came out in 1998, its stated mission to create a java-based sound environment | ||
| + | for the web which capitalises on the nature of networked information--its capacity | ||
| + | to infect and be infected by other information. | ||
| + | < | ||
| + | |||
| + | In each individual version of the Sonicform system, there are basic 'sound fragments' | ||
| + | attached to images in the top left-hand corner of the screen at startup. | ||
| + | < | ||
| + | |||
| + | These sounds are then combined by users into a time-based system known as a ' | ||
| + | This is a string of serial code, like a genome, which instructs certain sounds to | ||
| + | evolve, switch on and off or remain inactive over a given time. | ||
| + | < | ||
| + | |||
| + | Each instance of Sonicform is linked via the net to ' | ||
| + | all other versions of itself which are being executed at any point in time. It implements | ||
| + | a threshold-triggered feedback loop to graft each set of instructions back into the | ||
| + | main sound stream as it evolves.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | systems leads us naturally towards a long discussion about a-life, expanding hybrid | ||
| + | universes, | ||
| + | of these processes and will not dive into the processes themselves in this presentation. | ||
| + | < | ||
| + | |||
| + | Our goal is to scratch a milimeter beneath the surface of the point' | ||
| + | and draw your attention to the existence of another possible approach to coding errors, | ||
| + | bugs, noise and other glitches....</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | usually the enemy. It is the enemy of a stable system, of a seamless user-interface, | ||
| + | of the point' | ||
| + | < | ||
| + | |||
| + | The glitch also draws our attention to the arbitrary and constructed nature of information | ||
| + | itself.</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | closing question, and hope that its ambiguity will open up a whole new set of approaches | ||
| + | to this topic:</ | ||
| + | < | ||
| + | |||
| + | <p style=" | ||
| + | object of our investigations becomes the virtual replicator?</ | ||
| + | < | ||
| + | |||
| + | __________________________________< | ||
| + | </ | ||
| + | < | ||
| + | patent | ||
| + | xx _ luvl! | ||
| + | xy _ kostly - speeding thieves on the international genostrada | ||
| + | |||
| + | =cw4t7abs | ||
| + | = life form [gene konglomerat] the only possible source of new patterns. | ||
| + | |||
| + | 01 virtual architecture assemblage of crumple-free materie | ||
| + | the chaotic tremor of finite resolution towards the progress of | ||
| + | 01 trajectory as noise constantly resetting the trajectory is | ||
| + | </ | ||
| + | </ | ||
| + | </ | ||
| + | </ | ||
| + | </ | ||