15 lines
2.0 KiB
Markdown
15 lines
2.0 KiB
Markdown
<img src="https://git.le-club-des-sans-sujets.org/gauthiier/Revisiting-Concepts-Notations-Software-Art/media/branch/main/img/autopilot-creativity.png" alt="autopilot creativity" width="350" style="display: block; margin: 0 auto;" />
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# Framing the (art historical) debate: (Pre-, Post-) Modern?
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> 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 101-102)
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> To discuss “software art” simply means to not take software for granted, but pay attention to how and by whom programs were written. If data doesn’t exist without programs, it follows that the separation of processed “data” (like image and sound files) from “programs” is simply a convention. (Cramer 105)
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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).
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> Jodi are thus stubbornly out of step with the dominant rhythms of contemporary art. Less obsessed with the cultural or social effects of new media, Jodi orient themselves toward the specificities of hardware and software. The resulting aesthetic is, in this way, not entirely specified by the artists’ subjective impulses. Instead, the texture of code and computation takes over, and computing itself—its strange logic, its grammar and structure, and often its shape and color—produces the aesthetic. (Galloway 3).
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