[NetBehaviour] 2 New Reviews on Furtherfield March 17th 09.
info at furtherfield.org
Tue Mar 17 13:48:42 CET 2009
2 New Reviews on Furtherfield March 17th 09.
Microcodes by Pall Thayer.
Review by Rob Myers.
Pall Thayer's Microcodes are short code art pieces written in Perl and
presented on a website for viewers to read, download, and execute. Each
code piece encapsulates tasks performed by artworks such as portraiture
or memento mori. They follow on from Thayer's earlier "Exist.pl", which
allegorized life, death and being using running Perl code. The program
listings are presented on a modern, neutrally styled, website for
download and execution. The code is licensed under the GNU GPL version 3
(or later), so everyone is free to use, study, modify and redistribute
it. The use of the GPL should be a given for code art, but far too many
artists are happy to take the freedom that they are given by other
hackers and not pass it on. Thayer deserves credit for doing the right
You don't need to be able to program to appreciate or add to it. It can
be taken and modified as an aesthetic as well as executable resource.
Its framing as code is clear, but its presentation on a social site and
its licensing under the GPL leave its use by other artists, whether
programmers or not, open. It frustrates those of us who hoped to use
code to draw a line in the sand by using code effectively as a social
product and resource.
(sans femme et sans aviateur) by Jorn Ebner.
Review by Rob Myers.
Jorn Ebner's "(sans femme et sans aviateur)" is an atmospheric
time-based multi-window web-browser image work that presents an
evocative exploration of contemporary Paris. It consists of four series
of pop-up browser web windows containing image slide shows which are
programmatically arranged in turn on the desktop. The content of each
window is static but animated by blurring or scrolling. The frames of
the windows are also animated, being opened, closed and placed. Window
choreography in net art has a long history, but there's something subtle
and satisfyingly compositional about Ebner's windows. They are part of
the flow of the story, or absence of story.
The build-up of windows on the desktop resembles the way that windows
accumulate during the average computer user's working day, only arranged
with more intent and precision. Instead of word processor and
spreadsheets or web pages and emails the windows present what looks as
if it should be a narrative told using photographs of the streets,
alleys and parks of contemporary Paris.
Reviews, interviews & articles:
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