----------empyre- soft-skinned space----------------------
Hi Murat.

I didn’t understand Garrett to say that code is neutral. I understood him to be 
saying that code does not constitute a document in the way that documentary 
studies typically does.

I definitely agree that code is not neutral but a mode of power, which is why I 
wanted to see what other thought about shifting ways that we think about 
documentary from documents to operations.

Best,
Dale


> On Apr 16, 2018, at 22:00, Murat Nemet-Nejat <mura...@gmail.com> wrote:
> 
> ----------empyre- soft-skinned space----------------------
> Hi Garrett,
> 
> "... 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'..."
> 
> Your description has the kind of naivety that often plagued the thinking 
> around digital technology. A code is not a neutral term denoting merely 
> convenience ("simply... a dumbed down term for the benefit of 
> communicating..." ) but a structure of knowledge (and potentially of power) 
> with epistemological, social, political consequences. "Convenience" has often 
> turned out to be a bait, a Trojan horse.
> 
> Ciao,
> Murat
> 
> On Mon, Apr 16, 2018 at 11:12 AM, Dale Hudson <dmh2...@nyu.edu 
> <mailto:dmh2...@nyu.edu>> wrote:
> ----------empyre- soft-skinned space----------------------
> Excellent point, Garrett. 
> 
> I’m interested in this shift from analogue to digital when document no longer 
> become as significant as code. I’m wondering whether it help move discussion 
> on documentary away from representation towards operation. 
> 
> 
>> On Apr 16, 2018, at 13:07, Garrett Lynch <garr...@asquare.org 
>> <mailto:garr...@asquare.org>> wrote:
>> 
>> ----------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 
>> <mailto: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 
>> media. 
>> 
>> 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.” 
>> 
>> Best,
>> Dale
>> 
>> 
>> 
>> -- 
>> regards
>> Garrett
>> _________________
>> garr...@asquare.org <mailto:garr...@asquare.org>
>> http://www.asquare.org/ <http://www.asquare.org/>
>> 
>> Current events and soon:
>> 
>> Real Virtuality The Networked Art of Garrett Lynch:
>> http://realvirtuality.peripheralforms.com/ 
>> <http://realvirtuality.peripheralforms.com/>
>> 
>> A network of people who attended an exhibition and contributed to the 
>> creation of this work
>> http://asquare.org/work/peoplenetwork/ 
>> <http://asquare.org/work/peoplenetwork/>
>> 
>> 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
>> https://www.emaf.de/en/index.html 
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