After just listening to numerous covers of Main Titles from Blade Runner by Vangelis, I just got word that “Machine Fantasies: A Workshop on Music Technologies – Past, Present, and Future” is happening April 4-5, 2014 here in town, at the Perry and Marty Granoff Music Center of Tufts University.
Nick Montfort & Páll Thayer
Programs at an Exhibition
At the Boston Cyberarts Gallery
141 Green Street, Jamaica Plain, MA 02130
Located in the Green Street T Station on the Orange Line
Phone number: 617-522-6710
The exhibit runs March 6 through March 16.
Opening: 6pm-9pm, Thursday March 6.
Part of the life of remarkable artworks is that they are appropriated, transformed, and made new. In Programs at an Exhibition, two artists who use code and computation as their medium continue the sort of work others have done by representing visual art as music, by recreating performance pieces in Second Life, and by painting a mustache and goatee on a reproduction of the Mona Lisa. Programs at an Exhibition presents computer programs, written in Perl and Commodore 64 BASIC, each running on its own dedicated computer. The 20th century artworks reenvisioned in these programs include some by painters and visual artists, but also include performances by Joseph Beuys and Vito Acconci. All of the underlying code is made available for gallery visitors to read; they are even welcome to take it home, type it in, and run or rework these programs themselves.
The programs (Commodore 64 BASIC by Nick Montfort, Perl by Páll Thayer) re-create aspects of the concepts and artistic processes that underlie well-known artworks, not just the visual appearance of those works. They participate in popular and “recreational” programming traditions of the sort that people have read about in magazines of the 1970s and 1980s, including Creative Computing. Programmers working in these traditions share code, and they also share an admiration for beautiful output. By celebrating such practices, the exhibit relates to the history of art as well as to the ideals of free software and to the productions of the demoscene. By encouraging gallery visitors to explore programming in the context of contemporary art and the work of specific artists, the exhibit offers a way to make connections between well-known art history and the vibrant, but less widely-known, creative programming practices that have been taken up in recent decades by popular computer users, professional programmers, and artists.
The Perl programs in the exhibit are from Microcodes, a series of very small code-based artworks that Páll Thayer began in 2009. Each one is a fully contained work of art. The conceptual meaning of each piece is revealed through the combination of the title, the code and the results of running them on a computer. Many contemporary programmers view Perl as a “dated” language that saw its heyday in the early ages of the World Wide Web as the primary language used to combine websites with databases. Perl was originally developed by Larry Wall, whose primary interest was to develop a language for parsing text. Because of his background in linguistics, he also wanted the language to have a certain degree of flexibility which has contributed to its motto, “There’s more than one way to do it.” “That motto, ‘TMTOWTDI,’ makes Perl challenging for professional programers who have to take over other’s people code and may struggle to make sense of it,” Thayer said. “But it’s one of the main reasons that Perl, a very expressive programming language, appealed to me in developing this project. This flexibility encouraged Perl programmers to explore individual creative expression in the writing of functional code.”
“Páll’s work in Microcodes engages explicitly with the way computer programs are read by people and hwo they have meanings to those trying to understand them, modify them, debug them, and develop them further,” Nick Montfort said. “The Perl programs in Microcodes are quite readerly when compared to my BASIC programs. I’ve tried to engage with a related, but different documented historical tradition — the one-line BASIC program — as it works in a particular computer, the Commodore 64, and to dive into what that particular computer can do using a very limited amount of code, given these many formal, material, and historical specifics. Because my programs are harder to understand, even though they are written in a more populist programming language, I’m including versions of the program that I have rewritten in a clearer form and that include comments.” Montfort’s related projects include a collaborative book, written with nine others in a single voice, that focuses on a particular Commodore 64 BASIC one-liner. The book, published in 2012, is named after the program that is its focus, 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. Montfort also writes short programs to generate poetry. These include two collections of Perl programs that are constrained in size: his ppg256 series of 256-character programs, and a set of 32-character concrete poetry generators, Concrete Perl. His book #! (pronounced “Shebang”) collects these and other poetry generators, along with their output, and is forthcoming from Counterpath Press.
Nick Montfort develops literary generators and other computational art and poetry, and has participated in dozens of collaborations. He is associate professor of digital media at MIT and faculty advisor for the Electronic Literature Organization, whose Electronic Literature Collection Volume 1 he co-edited. Montfort wrote the book of poems Riddle & Bind and co-wrote 2002: A Palindrome Story with William Gillespie. The MIT Press has published four of Montfort’s collaborative and individually-authored books: The New Media Reader (co-edited with Noah Wardrip-Fruin), Twisty Little Passages, Racing the Beam (co-authored with Ian Bogost), and most recently 10 PRINT CHR$(205.5+RND(1)); : GOTO 10, a collaboration with Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark C. Marino, Michael Mateas, Casey Reas, Mark Sample, and Noah Vawter that Montfort organized. Nick Montfort’s site, with his digital poems and a link to a free PDF of 10 PRINT: http://nickm.com
Páll Thayer is an Icelandic/American artist working primarily with computers and the Internet. He is a devout follower of open-source culture. His work is developed using open-source tools and source code for his projects is released under a GPL license. His work has been exhibited at galleries and festivals around the world with solo shows in Iceland, Sweden, and New York and notable group shows in the US, Canada, Finland, Germany, and Brazil. Páll Thayer has an MFA degree in visual arts from Concordia University in Montréal. He is an active member of Lorna, Iceland’s only organization devoted to electronic arts. He is also an alumni member of The Institute for Everyday Life, Concordia/Hexagram, Montréal. Páll Thayer currently works as a lecturer and technical support specialist at SUNY Purchase College, New York. Páll Thayer’s Microcodes site: http://pallthayer.dyndns.org/microcodes/
Ten programs will be exhibited, running on ten computers. Two of them, one in Perl by Páll Thayer and one in Commodore 64 BASIC by Nick Montfort, are based on the same artwork, Jasper Johns’s Flag:
Flag · Páll Thayer
Perl program · 2009
After Jasper Johns · Nick Montfort
one-line Commodore 64 BASIC program · 2013
I’ll post more on this soon, but for now, let me invite you to the opening of my & Páll Thayer’s show at the Boston Cyberarts Gallery: 141 Green Street, Jamaica Plain, MA 02130, located in the Green Street T Station on the Orange Line, 617-522-6710.
The opening is 6pm-9pm on Thursday March 6.
The exhibit (which will be up March 6-16) will feature ten programs (five in Commodore 64 BASIC by Nick Montfort, five in Perl by Páll Thayer), each running on its own computer. The programs re-create aspects of the concepts and artistic processes that underlie well-known artworks, not just the visual appearance of those works. They participate in popular and “recreational” programming traditions of the sort that people read about in magazines of the 1970s and 1980s, including Creative Computing. Programmers working in these traditions share code, and they also share an admiration for beautiful output. By celebrating such practices, the exhibit relates to the history of art as well as to the ideals of free software and to the productions of the demoscene. By encouraging gallery visitors to explore programming in the context of contemporary art and the work of specific artists, the exhibit offers a way to make connections between well-known art history and the vibrant, but less widely-known, creative programming practices that have been taken up in recent decades by popular computer users, professional programmers, and artists.
Flag · Páll Thayer
Perl program · 2009
After Jasper Johns · Nick Montfort
one-line Commodore 64 BASIC program · 2013
Purple Blurb, MIT’s digital writing series organized by Prof. Nick Montfort of the Trope Tank, powers on, thanks to the four excellent writers/artists who will be presenting in Spring 2014. All events this semester will be held Mondays at 5:30pm in MIT’s room 14E-310.
March 10, 5:30pm in 14E-310:
Short Perl programs that are also artworks, presented for viewers to read, download, and execute. Thayer will trace some key steps showing how he went from his background in painting and drawing to presenting code as his artwork.
Páll Thayer is an Icelandic artist working primarily with computers and the Internet. He is devout follower of open-source culture. His work is developed using open-source tools and source-code for his projects is always released under a GPL license. His work has been exhibited at galleries and festivals around the world with solo shows in Iceland, Sweden and New York and notable group shows in the US, Canada, Finland, Germany and Brazil (to name but a few). Pall Thayer has an MFA degree in visual arts from Concordia University in Montreal. He is an active member of Lorna, Iceland’s only organization devoted to electronic arts. He is also an alumni member of The Institute for Everyday Life, Concordia/Hexagram, Montreal. Pall Thayer currently works as a lecturer and technical support specialist at SUNY Purchase College, New York.
April 7, 5:30pm in 14E-310:
Experimental writing & video
Including a reading from his recent book [[ there. ]] and video from his Theories of Forgetting project.
Lance Olsen is author of more than 20 books of and about innovative writing, including two appearing this spring: the novel based on Robert Smithson’s earthwork the Spiral Jetty, Theories of Forgetting (accompanied by a short experimental film made by one of its characters), and [[ there. ]], a trash-diary meditation on the confluence of travel, curiosity, and experimental writing practices. His short stories, essays, and reviews have appeared in hundreds of journals and anthologies. A Guggenheim, Berlin Prize, N.E.A. Fellowship, and Pushcart Prize recipient, as well as a Fulbright Scholar, he teaches experimental theory and practice at the University of Utah.
April 28, 5:30pm in 14E-310:
Videos & combinatory videos
Produced in collaboration with Roderick Coover, Nick Montfort, and others, including: The Last Volcano, Cats and Rats, Three Rails Live and Toxicity.
Scott Rettberg is Professor of Digital Culture in the department of Linguistic, Literary, and Aesthetic studies at the University of Bergen, Norway. Rettberg is the project leader of ELMCIP (Electronic Literature as a Model of Creativity and Innovation in Practice), a HERA-funded collaborative research project, and a founder of the Electronic Literature Organization. Rettberg is the author or coauthor of novel-length works of electronic literature, combinatory poetry, and films including The Unknown, Kind of Blue, Implementation, Frequency, Three Rails Live, Toxicity and others. His creative work has been exhibited online and at art venues including the Chemical Heritage Foundation Museum, Palazzo dell Arti Napoli, Beall Center, the Slought Foundation, The Krannert Art Museum, and elsewhere.
May 5, 5:30pm in 14E-310:
Jill Walker Rettberg
With examples from her own work as well as from photobooths, older self-portraits, and entries from others’ diaries, in her talk “Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to Understand Ourselves.”
Jill Walker Rettberg is Professor of Digital Culture at the University of Bergen in Norway. Her research centers on how we tell stories online, and she has published on electronic literature, digital art, blogging, games and selfies. She has written a research blog, jilltxt.net, since October 2000, and co-wrote the first academic paper on blogs in 2002. Her book Blogging was published in a second edition in 2014. In 2008 she co-edited an anthology of scholarly articles on World of Warcraft. Jill is currently writing a book on technologically mediated self-representations, from blogs and selfies to automated diaries and visualisations of data from wearable devices.
Those who have recently started developing electronic literature are welcomed to apply to have work in the Gallery of E-Literature First Encounters. Feb 15 is the deadline; the gallery will be at the “Hold the Light” conference, ELO 2014, in Milwaukee.
The next Electronic Literature Organization conference, to take place in Milwaukee on June 19-21, has just extended its deadline for submission to December 15. Media Art Show proposals and abstracts for academic talks are both welcome.
(The demoparty this Saturday in Montréal.)
And my VIC-20 and C64.
Gamebook guru Demian Katz is putting on a conference on interactive fiction, print and online, in Villanova’s Popular Culture Series. The conference does have an academic focus, but also seeks to introduce new sorts of academics to IF.
Aha – and the deadline for submitting something is November 1!
I was fascinated to find that Non-Event, “a Boston-based concert series devoted to the presentation of the finest in experimental, abstract, improvised, and new music from New England and around the world,” will be bringing several sound poets to the area soon. Steve McCaffery and Christian Bök have graced my Purple Blurb series at MIT recently, and I am very much looking forward to the ululations and other sounds of other sound poets.
Vincent Barras and Jaques Demierre are coming to the misnamed swissnex Boston (it’s in Cambridge) Monday, October 7 at 6:30pm, for $10/$5 for students. That’s tomorrow.
Jaap Blonk will be at the (correctly named) School of the Museum of Fine Arts Boston at 8pm Saturday, November 23, for $5.
A new short, snappy, and expanding poem by Nick Montfort, Jerome Fletcher, Talan Memmott, Serge Bouchardon, Samantha Gorman, Leonardo Flores, Scott Rettberg, Jason Nelson, and Flourish Klink is now online.
It’s pop, an ELO 2013 anthology. It requires the use of arrow keys. And it was written at the Electronic Literature Organization’s 2013 conference, Chercher le texte, in Paris.
Puzzle out the constraint that was used, and feel free to continue the project…
(I have the feeling that I’ve omitted the name of at least one contributor … please let me know if I left you off the list; I will gladly remedy that on this post and on the pop page itself.)
Chris Funkhouser’s SoundBox 2012 has been posted in the online gallery space of DDDL, which I believe stands for Digital, Digital, Digital, digitaL. Or maybe Digital Digital Digital Littérature? There is a rich array of work up there; Chris’s contribution blends sounds with the carefully-recorded speech that he has recorded across many conferences and beyond, providing a rich audio record of activity in electronic literature and E-Poetry. As the description of the work says,
Combining music, demented artistic performances, lectures, and studio experiments, Funk’s SoundBox 2012 draws from hundreds of digital recordings produced by poet-critic Chris Funkhouser, who condenses them into a single interactive space. Users of this personal archive – a balance of words and sounds Funkhouser wishes to remember and share – will find ambient and raw materials amidst discussions led by some of the most influential figures in the field of digital writing, grand improvisations featuring a range of instrumentation, software play, and more weaved into a unique sonic projection.
Except — wait. Those are documented artistic performances, lectures, and studio experiments. Sheesh.
Noah Wardrip-Fruin was an organizer the Media Systems workshop at UCSC just over a year ago, August 26-29, 2012. It was an extraordinary gathering about computational media and its potential, with famous participants from a variety of disciplines and practices. The workshop’s sponsors were also remarkable: the National Science Foundation, National Endowment for the Humanities, National Endowment for the Arts, Microsoft Research, and Microsoft Studios. Now, Noah is working to put high-quality videos of talks from this event online, and to offer some very useful framing discussion of those talks.
This month, three have been posted. The first of these is a talk by Ian Horswill: “Interdisciplinarity is Hard.” I’m collaborating with Ian now to edit a special issue on computational narrative and am looking forward to seeing him at AIIDE. In addition to his talk, I recommend (and assign) his short but rich article “What is Computation?,” which discusses some of the fundamentals of computation as a science along with its intellectual and cultural importance. Those with access to ACM content can also get the later version of the article that was published in Crossroads.
The second talk posted is from the inestimable production designer Alex McDowell: “World Building.” McDowell (The Crow, Fear and Loathing in Las Vegas, Fight Club, Minority Report, Watchmen, etc., etc. ) describes how the development of movies is no longer a storytelling process driven by a single person or idea, but is becoming a process of world building in which a variety of concepts, including design and in some cases engagement with urban planning and spaces, influence each other. McDowell made his points with some of the most beautiful and byzantine diagrammatic slides since David Byrne was doing work in PowerPoint.
The most recent talk is mine – Nick Montfort: “The Art of Operationalization.” I spoke about my experience implementing humanistic ideas (in my case, about narrative) in computational systems, ones that not only can produce narrative results, but which can advance our understanding of the humanities and arts. Prof. Janet Kolodner (now serving the National Science Foundation) seemed to be uncertain about the value of this work, and questioned me about that during my talk – in a way that surprised me a bit! But looking back, I see that our discussion was one of the benefits of having a diverse yet fairly small in-person gathering. I seldom have these discussions either on this blog or in larger, multi-track conferences.
I think of Curveship and even the development of small-scale programs such as Through the Park as research activities (in the humanities, but potentially also in computation) that as connected to narrative and poetic practice. While some people (such as Ken Perlin, who was also at workshop and whose video will be up next week) work in this sort of mode and see the value in it, the benefits are not obvious. The result may not a direct educational outcome, an incremental advance that can be directly measured and evaluated, or a work of art or literature that is recognizable in a traditional way. So, whether I was able to answer well at the time or not, I appreciate the questions, and hope to get more of those sort in other workshops such as these.
Next Saturday (September 21, 2013) is Boston Software Freedom Day. This event, like the Boston Festival of Independent Games yesterday, is also taking place in Cambridge rather than Boston – at Cambridge College, 1000 Mass Ave, between Central and Harvard Squares.
Come by to hear about and discuss freedoms on the computer and online, privacy, and government transparency. I’ll offer one of the very quick lightning talks at the end of the day, discussing some of the history of creative computing and its relationship to software freedom.
The event is not only libre, but also no-cost. And the cake to celebrate the 30th anniversary of GNU is not a lie.
I’m here at the Boston Festival of Independent Games (Boston FIG) today. It’s actually in Cambridge, at MIT, but otherwise the title is not misleading: It is festive and full of indie games and discussion of them. I’ve seen an incredible variety of work by individuals and small teams of developers. Just to give some flavor of the event — according to my notes, I’ve seen:
There’s a nice article by Illya Szilak, with a discussion/reporting by Melinda White, about the Library of Congress Electronic Literature Showcase. This ran April 3-5; I was down there to read from Ad Verbum and Taroko Gorge and to speak about electronic literature’s history with libraries on the last day of the event and exhibit. And it was an excellent exhibit.
Thanks to Dr. Clara Fernández-Vara, the Trope Tank has a new technical report, TROPE-13-01: “Electronic Literature for All: Performance in Exhibits and Public Readings.”
This report covers readings of interactive fiction done by the People’s Republic of Interactive Fiction, the Boston area IF group, and the exhibit Games by the Book, discussed previously on here. But there is much more detail in this report about how these attempts managed to share computational works (works that are both games and e-lit) with the public. If you are interested in outreach and presentations of this sort, please take a look.