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| - | < | + | |
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| - | & | + | |
| - | solve a problem with the same kind of thinking that created it.& | + | |
| - | -- A. Einstein </ | + | |
| - | < | + | |
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| - | <p style=" | + | |
| - | digital art from art pursued in another medium by the intrinsic dependence on computers | + | |
| - | for its realisation.< | + | |
| - | < | + | |
| - | + | ||
| - | <p style=" | + | |
| - | seriously, | + | |
| - | 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/hardware/ | + | |
| - | 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> | + | |
| - | < | + | |
| - | + | ||
| - | <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 | + | |
| - | </ | + | |
| - | </ | + | |
| - | </ | + | |
| - | </ | + | |
| - | </html> | + | |
alkan