|Deletions are marked like this.||Additions are marked like this.|
|Line 1:||Line 1:|
|Line 58:||Line 57:|
|* [korova.dyne.org/Simulation-City-ch.pdf Droit D'Images] Centre pour l'image Contemporaine||* [http://korova.dyne.org/Simulation-City-ch.pdf Droit D'Images] Centre pour l'image Contemporaine|
|Line 68:||Line 67:|
|= Digital Boheme, forkbombs and poets maudites =||= Digital Boheme, forkbombs and poetes maudits =|
Semantics of code
Starts describing the way the GNU General Public License works, the freedom we are talking about, the free software phenomenon as an an efficient evolutionary paradigm based on Collaboration instead of Competition.
Engages an exploration of the Semantics of Code and Creation, from Saussure to Knuth, considering linguistical, historical and social aspects, with a political consideration about the Rastafari notion of Creation as opposed to the Consumerist asset of capitalist society. Among the others are quoted Bruno Latour, Eben Moglen and Arthur Rimbaud.
Concludes with a consideration about the role of software patents: in context of India, where free software can open the possibility of local development as opposed to the colonialist establishment of multinational corporations; and of Europe, where if approved software patents can stale the economy in a situation of monopoly.
exhibitions and conferences
[http://www.nomadit.co.uk/~dnc/ Description and Creativity conference]
Free software for the freedom of creation
In the panorama of existing operating systems we see that there is a great number of possibilities to listen: all kinds of "free to download" players for audio and video, but no easy way for everybody to speak out loud and spread their words. The way communication is structured follows a hierarchy of well established powers and, worst than ever, money is the main requirement for making a voice spread and possible to be heard by others.
Neverthless, proprietary software spreads the dependence from business companies thru the populace: whenever we share our knowledge on how to use a certain software we make the people in need to buy the tools from merchants in order to express their creativity: the need to buy then becomes slavery under the patronage of capitalism.
The talk consists of a practical example of the [http://dynebolic.org dyne:bolic] GNU/Linux operating system and of the things you can do with ... (projector and computer is required)
avenues and publications
[http://www.sarai.net/events/ip_conf/ip_conf.htm IP @ Sarai] Contested Commons / Trespassing Publics
[http://korova.dyne.org/Simulation-City-ch.pdf Droit D'Images] Centre pour l'image Contemporaine
[http://rixc.lv/ram5/ RAM5] Open source Media Architecture
[http://pzwart.wdka.hro.nl/mdr/Seminars2/floss/view FLOSS in Design] Piet Zwart Institute
[http://rhizome.org/netartnews/story.rhiz?×tamp=20040324 Rastasoft on Rhizome]
Digital Boheme, forkbombs and poetes maudits
Any discussion of software as art requires consideration of the whole creative process involved in designing and producing it, which leads to a new approach to operation in the digital domain. Our attention here is focused on source codes and the fascinating world of algebra and algorithms. That world can be seen in many expressions of form which are dense, can be reformulated and produce meaning.
Source codes, or rather algorithms and algebra, are the tools of the digital craftsman in the modern age with over a thousand years of mathematical theories behind them. Only for little more than a quarter of a century have they acted as software. Software is a means of creating art and communicating. It is a metaliterature which defines how meaning can be carried and (re)produced by multiplying the possibilities of communication. Just as software is a means of metacommunication, so it represents a "parole", deriving its execution from a "langue", i.e. the grammatical and linguistic universe of the code. This reference to the metaphysical is to the point here: although many see the source code as merely an obscure cryptogram, it has an indirect effect on the way we communicate and even more on the efficiency with which we do so.
With all this in mind, let us now turn our attention to the phenomenon of software viruses. These are a combination of rebellious poetic gestures, symptoms of politics or structure, attempts to get into the cracks of the net and artificial intelligences, (rarely harmful, just for the record), which have always populated the digital universe.
exhibition & catalogues
[http://www.digitalcraft.org/?artikel_id=292 I LOVE YOU]
[http://www.digitalcraft.org/iloveyou I LOVE YOU] rev.eng
[http://www.medienkunstnetz.de/themes/public_sphere_s/media_spaces/ Medien Kunst Netz]
[http://www.data-browser.net/02/ Data-Browser02: Engineering Culture]
[http://weblog.educ.ar/sociedad-informacion/archives/003275.php Internet, Hackers y Software Libre]