E. Gabriella Coleman: Coding Freedom: The Ethics and Aesthetics of Hacking (2012–) [EN, SC]

“Who are computer hackers? What is free software? And what does the emergence of a community dedicated to the production of free and open source software–and to hacking as a technical, aesthetic, and moral project–reveal about the values of contemporary liberalism? Exploring the rise and political significance of the free and open source software (F/OSS) movement in the United States and Europe, Coding Freedom details the ethics behind hackers’ devotion to F/OSS, the social codes that guide its production, and the political struggles through which hackers question the scope and direction of copyright and patent law. In telling the story of the F/OSS movement, the book unfolds a broader narrative involving computing, the politics of access, and intellectual property.

E. Gabriella Coleman tracks the ways in which hackers collaborate and examines passionate manifestos, hacker humor, free software project governance, and festive hacker conferences. Looking at the ways that hackers sustain their productive freedom, Coleman shows that these activists, driven by a commitment to their work, reformulate key ideals including free speech, transparency, and meritocracy, and refuse restrictive intellectual protections. Coleman demonstrates how hacking, so often marginalized or misunderstood, sheds light on the continuing relevance of liberalism in online collaboration.”

Publisher Princeton University Press, 2012
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License
ISBN 1400845297, 9781400845293
264 pages

Responses: Jo Bates, Denisa Kera, Brett Lunceford, Jorge Luis Zapico, Alexander Halavais, Stéphane Leman-Langlois, Ethan Zuckerman
Reviews: James Grimmelmann (Jotwell: Cyberlaw, 2012), David Banks (Cyborgology, 2012), Eric Raymond (2013), Cade Metz (Wired, 2013), Mike Doherty (Hashbang, 2013), Bruce Byfield (Linux Mag blog, 2013), Bryan Behrenshausen (OpenSource.com, 2013), Roy S. Gutterman (Journalism & Mass Communication Q, 2014), Tim Jordan (American J Sociology, 2014), Emily T. A. Earl (Techno_ethno, 2014), Anne Elizabeth Yaniga (Techno_ethno, 2014), Sebastian Kubitschko (Culture Machine, 2014).

Publisher

Coding Freedom (English, updated on 2013-1-18, PDF, EPUB [updated on 2014-9-2])
Kodiranje slobode. Etika i estetika hakovanja (Serbo-Croatian, trans. Ljubica Gotić and Predrag Todić, 2014)

Florian Cramer: Exe.cut(up)able statements: Poetische Kalküle und Phantasmen des selbstausführenden Texts (2011) [German]

“From the antiquity to today, there has been poetry that literally performs computations, processing its own letters. Prototyped by magic and Pythagorean mathematical aesthetics, it encompasses such diverse forms as kabbalist and Lullist language combinatorics, word permutation poetry, ludistic poetry, computational text collage, aleatoric, stochastic and recursive texts, Oulipian constraints, computer-generative literature, poetry in programming languages, and codeworks. Just like visual and sound poetry poetize the graphetic and phonetic dimensions of words, these writings show that computation is a dimension of language. On top of that, their poetics is rife with speculative and contradictory programs: often one and the same text form is at once being instrumentalized for total art and anti-art, mysticism and technicism, order and chaos. This has resulted in a fantastic literature whose speculative imagination manifests itself in the arrangement of letters rather than the semantics of the text. The book includes close readings of a 17th century sonnet (Quirinus Kuhlmann’s “XLI. Libes-kuss”), a 20th century musical composition (Alvin Lucier’s “I am sitting in a room”) and a 21st century net.art codework (mez breeze’s “_Viro.Logic Condition][ing][ 1.1_”), and discusses limitations of existing literary and media theory for criticism of these works.

A shorter, less scholarly English-language mutant of this book has been electronically published in 2005 as Words Made Flesh: Code, Culture, Imagination.”

Publisher Wilhelm Fink Verlag, October 2011
343 pages

Note: the book has just become free for Open Access publishing and is offered here for download in its manuscript version, licensed under Creative Commons Attribution Unported 3.0.

Publisher

PDF, PDF
LaTeX source code

Sher Doruff: The Translocal Event and the Polyrhythmic Diagram (2006)

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram – an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for real-time, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal.

Doctor of Philosophy, SMARTlab Programme in Performative New Media Arts, Central Saint Martins College of Art & Design, University of the Arts, London
288 pages

PDF
PDF (Appendix “The KeyWorx Interviews: Transcripts of Interviews and Conversations with KeyWorx Artists”)