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 # Framing the (art historical) debate: (Pre-, Post-) Modern?
 
+Cramer, Florian. “Concepts, Notations, Software Art.” In *Signwave, Auto-Illustrator Users Guide*, 101–12. Liquid Press/Spacex, 2002.
+
 > The history of the digital and computer-aided arts could be told as a history of ignorance against programming and programmers. Computer programs get locked into black boxes, and programmers are frequently considered to be mere factota, coding slaves who execute other artist’s concepts. (Cramer 1)
 
 > A computer program is a blueprint and its execution at the same time. Like a pianola roll, it is a score performing itself. [...]  Computer programming collapses, as it seems, the second and third of the three steps of concept, concept notation and execution. (Cramer 4)
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 Work 0: [Sol LeWitt's "Plan for a Concept Art Book"] https://www.sollewittprints.org/artwork/lewitt-raisonne-1971-18/ 
 
+Cox, Geoff, Alex McLean, and Adrian Ward. “Coding Praxis: Reconsidering the Aesthetics of Code.” In *Read_me: Software Art & Cultures*, edited by Olga Goriunova and Alexei Shulgin, 161–74. Aarhus: Aarhus University Press, 2004.
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 > The paper argued that any separation of code and the resultant actions would simply limit the aesthetic experience [...] Speech and its repre- sentation in writing together form a language that we appreciate as poetry. In the essay we speculated whether code could be seen to work in a similar way? (Cox et al. 161)
 
 >  The written form is merely a computer-readable notation of logic, and is a representation of this process. Yet the written code isn’t what the computer really executes, since there are many levels of interpreting and compiling and linking taking place. [...] But software itself relies on the deferred action of its author — the code operates on behalf of the programmer, so it is more accurate to consider this as part of a continuing performance. (Cox et al. 164)
 
+Galloway, Alexander R. “Jodi’s Infrastructure.” *E-Flux*, no. 74 (June 2016).
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 > Two basic activities emerge. A person may work "on" the digital or "within" it. In the former, one's attention is directed from the outside in, taking the medium itself as its object, while in the latter one takes the perspective of the medium itself, radiating attention outward to other contexts and environments. To generalize from this, the first position (working "on") is labeled modern or, when applied to art and aesthetics, modernist. And the latter position (working "within") is labeled non-modern, be it premodern, postmodern, or some other alternative (Galloway, 1-2).
 
 Work 1: http://㐃.net