----------empyre- soft-skinned space----------------------
For us, code is not a document.  Document suggests a singular 'thing' or at
least a group of things in proximity and closely held together.  The nature
of code is that it can't be thought of as a document, physical or 'real'
analogies don't work well.  Even the simplest type of code, say for example
HTML (which is technically not code but has some of the same qualities)
incorporates whole other 'documents' (e.g. images), parts of other
documents (e.g. classes and functions) and those can be distributed
anywhere when you factor in a network.  Document in new media is simply an
agreed dumbed down term for the benefit of communicating - similar to
desktop as I mentioned and one of my own best loved/most hated, 'virtual'.

On Sun, Apr 15, 2018 at 6:34 PM, Dale Hudson <dmh2...@nyu.edu> wrote:
----------empyre- soft-skinned space----------------------
Thanks, Luke and Garrett, for this discussion.

I agree about the shortcomings in reducing operational to optical. If
anything, the foregrounding of the operation of coding and transcoding
should heighten our awareness of the mechanical and chemical operations to
capture and render analogue images.

I’ve been interested in new media (for lack of a better term) documentaries
(also for lack of a better term) that instruct users in how data is tagged,
sorted, and rendered into information, as well as the structural
limitations to the kinds of information that can be rendered.

I’ve also been interested in documentaries that emerge in different
iterations, conforming to the limitations of a particular venue but then
morphing for other venues. This variation also seems important as a mode of
instruction that teaches critical practices of “interacting” with digital

In terms of documentary’s relationship with the visual, I have colleagues
who work in documentary poetry and theater. For them written or audio
testimony is a document.

I am interested to know what people think (or whether people think) of code
as a “document.”



Current events and soon:

Real Virtuality The Networked Art of Garrett Lynch:

A network of people who attended an exhibition and contributed to the
creation of this work

Pick up a postcard and participate at any of the following galleries:
Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister
Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de
Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech
Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA),
Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany),
Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet,
France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab
Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth,
England), The Gallery at Plymouth College of Art (Plymouth, England),
Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans
(London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione,
Italy), ZKM | Center for Art and Media (Karlsruhe, Germany)

Best of Luck with the Wall (variant) @ European Media Art Festival, Report
- notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018
empyre forum

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