Filed under book | Tags: · composing, composition, computer music, graphic notation, music, music history, notation, software
“In the late 1970s, an interdisciplinary team led by the composer Iannis Xenakis developed the UPIC (Unité Polyagogique Informatique CEMAMu) out of an effort to transform drawings into synthesized sound. The composers can draw waveforms and envelopes straight onto an electronic tablet interface and translate them into sound through the computer. The revolution in graphic composition triggered by Iannis Xenakis and carried forward by other established computer musicians such as Jean-Claude Risset or Curtis Roads continues forty years later in modern computer programs.”
“Together with the Centre Iannis Xenakis, the ZKM is now addressing the genesis of this unique computational instrument and traces its technical, social, institutional, and educational significance up to the current practice of contemporary composers.”
Contributors: Richard Barrett, Rodolphe Bourotte, Pierre Couprie, Cyrille Delhaye, Alain Després, Julio Estrada, Kiyoshi Furukawa, Rudolf Frisius, Hughes Genevois, Kosmas Giannoutakis, Dimitris Kamarotos, Henning Lohner, François-Bernard Mâche, Guy Médigue, Chikashi Miyama, Lukas Nowok, Gerard Pape, Marcin Pietruszewski, Brigitte Robindoré, Julia Rommel, Julian Scordato, Takehito Shimazu, Victoria Simon, Andrey Smirnov, Ronald Squibbs, Katerina Tsioukra, Peter Weibel.
Edited by Peter Weibel, Ludger Brümmer and Sharon Kanach
Publisher Hatje Cantz, Berlin, and ZKM, Karlsruhe, 2020
ISBN 9783775747417, 3775747419
Filed under book | Tags: · algorithm, art history, big data, computing, history of technology, language, logic, programming, software, software art, software studies, translation
“In The Software Arts, Warren Sack offers an alternative history of computing that places the arts at the very center of software’s evolution. Tracing the origins of software to eighteenth-century French encyclopedists’ step-by-step descriptions of how things were made in the workshops of artists and artisans, Sack shows that programming languages are the offspring of an effort to describe the mechanical arts in the language of the liberal arts.
Sack offers a reading of the texts of computing—code, algorithms, and technical papers—that emphasizes continuity between prose and programs. He translates concepts and categories from the liberal and mechanical arts—including logic, rhetoric, grammar, learning, algorithm, language, and simulation—into terms of computer science and then considers their further translation into popular culture, where they circulate as forms of digital life. He considers, among other topics, the “arithmetization” of knowledge that presaged digitization; today’s multitude of logics; the history of demonstration, from deduction to newer forms of persuasion; and the post-Chomsky absence of meaning in grammar. With The Software Arts, Sack invites artists and humanists to see how their ideas are at the root of software and invites computer scientists to envision themselves as artists and humanists.”
Publisher MIT Press, 2019
ISBN 9780262039703, 0262039702
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Filed under journal | Tags: · app, computation, data, infrastructure, law, software, software studies
A special issue of the journal, dedicated to the research of apps and infrastructure, with a special section on ‘Critical Approaches to Computational Law’ edited by Simon Yuill.
Contributions by Jeremy Wade Morris and Austin Morris; Carolin Gerlitz, Anne Helmond, Fernando van der Vlist, and Esther Weltevrede; Rowan Wilken, Jean Burgess, Kath Albury; Esther Weltevrede and Fieke Jansen; Michael Dieter and Nathaniel Tkacz; Stacy E. Wood; Johannes Paßmann; Théo Lepage-Richer; Mara Karagianni; Ezekiel Dixon-Roman, Ama Nyame-Mensah and Allison B. Russell; Winnie Soon; Matthias Plennert, Georg Glasze and Christoph Schlieder.
Edited by Carolin Gerlitz, Anne Helmond, David Nieborg, and Fernando van der Vlist
Published in October 2019