Software Art Software Art Master en Artes Digitales noviembre 2003 Sergi Jordà sergi.jorda@iua.upf.es http://www.iua.upf.es/~sergi http://www.tecn.upf.es/~sjorda Preámbulos, presentaciones e intenciones Qué es? (Qué no es?) Orígenes Programas artísticos Ideas sueltas Sobre la neutralidad del software El artista y el poder, el artista y el técnico Herramientas, utilidades e inutilidades Arte y técnica; artistas, técnicos y programadores Software y literatura Software y sociedad Bibliografía, links y discusiones Preámbulo Quien es/se considera artista? Cómo os definirías? Que es lo que hacéis? Qué es lo que os gustaría hacer? Porqué? In general, my work could be described as creating somehow useless things, using computers. Quite often, these things are related to music or sound, but I am, in fact, more interested about time -which is, I believe, the key element of interactivity - as well as about abstract ideas and concepts, as vague as this may sound. A big part of my work is also about teaching to others some of these things I believe, which means essentially, how to bring creativity and imagination into writing software, and how to write software that can also boost the creativity and the imagination of other end-users. A third component of my work is to think about all that, and take some conclusions or guesses, sometimes, writing articles, giving conferences and so... This last part is I believe quite close to what people could consider research. Sergi Jordà, Interview for Soundtoys May 2003 Preámbulo Quien es/se considera artista? Cómo os definirías? Que es lo que hacéis? Qué es lo que os gustaríahacer? Porqué? In general, my work could be described as creating somehow useless things, using computers. Quite often, these things are related to music or sound, but I am, in fact, more interested about time -which is, I believe, the key element of interactivity- as well as about abstract ideas and concepts, as vague as this may sound. A big part of my work is also about teaching to others some of these things I believe, which means essentially, how to bring creativity and imagination into writing software, and how to write software that can also boost the creativity and the imagination of other end-users. A third component of my work is to think about all that, and take some conclusions or guesses, sometimes, writing articles, giving conferences and so... This last part is I believe quite close to what people could consider research... Would you describe yourself as a multimedia artist, a net.artist, programmer, or none of the above? I like to consider myself as a musician, a luthier, a digital creator, a programmer and a theorist, not in any specific order. I definitely prefer digital to multimedia; I m not a videoartist; I work with the digital medium. I also prefer creator to artist. It is a way to avoid all the discussions that rise from the previous question Do you see this work as art. Sergi Jordà, Interview for Soundtoys May 2003 On a personal level, why do you make this work? I make it because I like making it. I ve been programming for 20 years. After studying Physics, in 1985, I started programming bank machines, but since 87 I only write the programs I like to write. I don t write all the ones I would like to, but I can say I like to work on all the things I ve wor ked since then. Besides, it is also true, that for around the last three years I ve been programming much and much less. Happily, lately I can work with people that also like to program and also like to invent and create beauty or surprise out of some bytes. So I m becoming more of an organizer and a catalyser and less of a programmer. On the other side, I ve been making music for 25 years. I started with the saxophone, but once I discovered computers, I realized that I could do much better with them than with the sax. I don t have the discipline needed for mastering a traditional musical instrument, because I m very bad at repeating always the same things. I get easily bored, and when that happens I don t do that anymore. Because of that, with the saxophone I was only playing free music, and with computers I soon realized that computers could learn all the systematic parts at once, and therefore freeing me from all this repetitive parts. And as I liked free-jazz I tried (and still do) to bring it to computer music. FIN DEL PREAMBULO Qué es el Software Art? A veces denominado Artistic Software o Software Artístico En que se distingue (si es que se distingue ) del Computer Art, Digital Art, Media Art, Arte Electrónico? Arte con/de/desde/para/por/según/sobre software??? o Arte con/de/desde/para/por/según/sobre computadoras Sergi Jordà, Interview for Soundtoys May 2003
No es Arte Electrónico! El Software es un fenómeno esencialmente digital. En este sentido es muy fácil (y acertado) separarlo de lo que se denomina Media Art y/o Arte Electrónico!!! Since more than a decade, festivals, awards, exhibitions and publications exist for various forms of computer art: computer music, computer graphics, electronic literature, Net Art and computer -controlled interactive installations, to name only a few, each of them with its own institutions and discourse. Classifications like the above show that attention is usually being paid to how, i.e. in which medium, digital artworks present themselves to the audience, externally. They also show that digital art is traditionally considered to be a part of ``[new ] media art,'' a term which covers analog and digital media alike and is historically rooted in video art. But isn't it a false assumption that digital art - i.e. art that consists of zeros and ones - was derived from video art, only because computer data is conventionally visualized on screens? No es Arte Electrónico! (2) A great part of the digital artspeech still comes fromthe oldfashionedvisual arts theorists. I like therefore theidea of takingthat out of their hands. Digital artis not (atleast the good one, from my point of view) anevolution of video or electronic art or the conceptual artof the 60s. Bringing the artsoftware concept to the frontline, seems togoin that direction: making a clear distinction; a new starting point. AndI completely agree. because many visual artists have become media artists, and visual critics, theorists and curators have become media critics, theorists or curators. Maybe good for them, but bad for digital Sergi Jordà, Transmediale 02 Report Software Art, Florian Cramer and Ulrike Gabriel, Agosto 2001 Y el resto del arte digital? Transmediale 2002 (lo que no es el Software Art) Una forma fácil de acotar el Software Art es por exclusión No es net-art puede estar en la red, pero la red no es su esencia No es interactive-art (no instalaciones, etc.) puede ser interactivo, pero la interacción no es su esencia. Además no suele salirse del ordenador No es nada que tenga que ver esencialmente con la imagen ni con la música aunque al final probablemente tenga que verse oirse algo Likewise, the term digital art'' has been associated primarily with digital images, music or audiovisual installations using digital technology. The software which controls the audio and the visuals is frequently neglected, working as a black box behind the scenes. Florian Cramer, Concepts, Notations, Software, Art (2002) For the second time, transmediale.02 will award the prize for Software Art. In this category the artistic process is largely dependent on the execution of computer code. Software not as a functional tool on which the "real" artwork is based, but software code as the material of artistic creation. Software Art can be the result of an autonomous creative practice, but can also refer critically to the general technological and social meaning of software. The definition of software art seems to start from a negative point. Software art is said to be neither media art nor interactive media art nor net.art, but something in between. Going more into depth, one can say that interactive art is a step towards a deeper human experience of electronic and digital media, where artists try to touch the untouchable by creating concepts that offer possibilities to get closer to the structures and processes that reside inside electronics, computers, and networks or by creating concepts that reflect problems to reach this goal. Media art and net.art, on the other side, reflect more of the social, communicative and political aspects of electronic, digital and networked media: more of what happens in front and because of the media. Cuando surge el término? Transmediale.01 (Berlin, 2001), primer festival que incluye esta categoría Readme 1.2(Moscú, 2002) es el primer festival exclusivo de software art Ars Electronica todavía no la incluye (aunque CODE era el lema del 2003) El término se había utilizado de otras formas (e.g. manuales de programación) y las ideas estaban en el aire desde hacía décadas Arte Informático (1992) El creador que decide utilizar la informática no sólo como herramienta, sino como vehículo de su expresión se mueve en un terreno resbaladizo, en el que debe luchar antes incluso que contra los prejuicios ajenos, contra su propia autocomplacencia: es fácil sucumbir ante la fascinación del poder fatuo, cuando sentado frente a la máquina como un faraón ante sus legiones de constructores de pirámides, se gobiernan los millones de bits, caprichosos y quisquillosos, per o siempre dominables al fin y al cabo; y todo ello sin la mala conciencia que cualquier poder conlleva ineludiblemente. Pero, cuales podrían ser entonces unos criterios válidos para la apreciación del - suponiendo que exista- "arte informático"? El espectador tiende simplemente a asimilarlo con las imágenes, animaciones o músicas generadas por o con ordenador, y a valorarlo o juzgarlo como tal, por la belleza de sus creacio nes (con frecuencia de dudoso gusto), pero no es aquí donde radica, a mi juicio, su val or intrínseco, y estoy incluso convencido de que, en muchos casos, el dominio de representaciónmaterialización (espacio bidimensional, tridimensional, temporal...) elegido para la "obra informática" es anecdótico o independiente de la idea generadora. Si de una forma simplista, considerásemos al arte clásico como el arte del resultado, y al moderno, como el del concepto, el arte informático, lo sería sin duda del proceso. Y sólo cuando este proceso de creación rompa con las pr oblemáticas artísticas tradicionales y afronte las que sugiere el nuevo medi o, surgirá el intrínseco Arte Informático Sergi Jordà, JoAn 1992
Las obras de Software Art son pues los programas pero cuales? o cuales no? Algunas definiciones Software Art : Definiciones Thematically, software art often deals with data visualization; other areas of creative activity include the tools for online collaborative performance / composition (Keystroke), DJ/VJ software, and alternatives to / c ritiques of commercial software (Auto-illustrator), especially the browsers (early classics like Netomat, Web Stalker, and many others since then). Generation Flash, Lev Manovich 2002 Artistic software is, first and foremost, software created for purposes different than traditional pragmatic ones. Such programs are not seen as tools for the production and manipulation of digital objects - from online bank accounts to works of art - they are works of art in their own right. Artistic Software for Dummies and, by the way, Thoughts About the New World Order (Olga Goriunova, Alexei Shulgin) (del call del READ_ME FESTIVAL 1.2 May 2002, Moscow) Propiedades de los programas artísticos Software and computers tend to be seen exclusively as pragmatic tools for information processing; programmers are usually exceptionally pragmatic people whose rational side often prevails over all others. Therefore, the artist has to confront pragmatism with the methods she is well acquainted with, based on intuition and non-rationality. Thus, artistic software appears. Artistic Software for Dummies and, by the way, Thoughts About the New World Order (Olga Goriunova, Alexei Shulgin) (del call del READ_ME FESTIVAL 1.2 May 2002, Moscow) READ_ME 1.2 Call Creación, modificación, deconstrucción Following works can be referred to as artistic software: 1. Instructions (read_me) onadjusting standars (commonlyused) software, as well as patches and any kindof impact onsoftware, whose results are not planned by producers andapplicationof whichleads to creation of an artistic product. 2. Deconstructionof existing software products, including computer games. 3. Written fromscratch program withpurpose differing from usual rational software purposes, i.e. refusal of the idea ofa program as a purelypragmatic tool. If you wouldlike to take a lookat artistic software works, visit our links page. transmediale.01 [do it yourself] manifesto Extractos This award is not about what is commonly understood as multimedia - where the focus is on data that can openly been seen, heard and felt. This award is about algorithms; it is about the code which generates, processes and combines what you see, hear and feel. While the code of a mere image, sound or text file passively relies on other pieces of software in order to be perceivable and editable, program code actually actively manipulates the machine. Perhaps the most fascinating aspect of computing is that code - whether displayed as text or as binary numbers - can be machine-executable, that an innocuous piece of writing may upset, reprogram, crash the system.(...) Según transmediale es la confianza en el software lo que lo vuelve invisible. Eso explica la tendencia de programas parodia y/o programas antipáticos, que veremos existe en el software art: una forma que tendría el programa de llamar la atención For us, software art is opposed to the notion of software as a tool (...). El programa como no-herramienta, la inutilidad de la obra de arte transmediale.01 what we looked for & what we found What we didn't or couldn't see were: - algorithms - meta-code - code-modifying code - efficient code - beautiful code - code as diary ( e.g. autobiographic writing, code that contains the history of it's own creation. - code libraries - embedded code What we saw were: - synthesizers (i.e. algorithmic generators of data) - filters (i.e. algorithmic processors of data) - code as social platform - code as environmental control - code as glue - obscure code - ironic code - simulated code - missing code - non-working/impossible code - application code - self -disguising code - insignificant code - code as writing - disruptive code - code as attitude http://www.transmediale.de/01 /en/software.htm (awards)
Principales tendencias Generos Deconstrucción (retro.you de Joan Leandre, untitled game de jodi ) Parodia (AutoIllustrator) Software antipático (jodi, Netochka Nezvanova ) Web-browsers (Web-stalker), visualizadores de datos Software poético retro.you Componentes Critical Software Social Software Speculative Software De Behind the Blip: Software as Culture, Matthew Fuller (extracto del libro homónimo) Autoillustrator : Broma o negocio? Autoillustratorno es freeware Adrian Ward ha creado incluso una empresa, SignWave (con clean look total de empresa, i.e. no error-look!) Lanzan nuevos programas (Autoshop es la versión indómito-generativa de Photoshop ) Signwave continues to offer specialist software design and production in a range of areas. We write custom desktop software for a wide range of operating systems, and develop media products to satisfy the needs of a wide range of individuals and businesses. Our attitude is that of stimulation and creativity, whether we are working for artists or global corporations. Dos características If software artcould be generally defined as anart of which the material is formal instruction code, - and/or whichaddresses cultural concepts of software, - theneach of their positions sides withexactly oneofthetwo aspects. If Software Art would be reducedtoonlythe first, one would risk ending up a witha neo-classicist understanding of software art as beautiful and elegant code along thelines ofknuthand Levy. Reduced on the other handto only thecultural aspect, Software Art could end up being a critical footnote to Microsoft desktop computing, potentiallyoverlooking its speculative potential at formal experimentation. Formal reflections ofsoftware are, like in this text, inevitable if one considers common-sense notions of software a problemrather than a pointof departure; histories of instruction codes in artand investigations intotherelationship of software, text and languagestill remainto be written. Concepts, Notations, Software, Art, FlorianCramer Antecedentes Algorítmica First manifesto of permutational art, Abraham Moles, 1963 Los artistas digitales de los 60s, escribían su propio software Demos Web Stalker JODI game deconstruction
Algunas ideas Sobre la neutralidad del software El artista y el poder Arte y técnica; artistas, técnicos y programadores Herramientas, utilidades e inutilidades Software y literatura Software y sociedad El Software NO es neutro The emergence of this phenomenon is first of all due to the overall spread of software - commercial, proprietary programs as well as open source - and its introduction into all spheres of human activity. Software has always been seen as a neutral tool, tending to become a transparent mediumfor information processing, and a most comfortable one at that. Artistic Software for Dummies and, by the way, Thoughts About the New World Order (Olga Goriunova, Alexei Shulgin) What position should an independent artist or activist take in the face of mass produced hi-tech tools intended to serve the needs of an artist, an intellectual or an average user? It's been suggested that specific software working methodologies constrain people to a specific way of thinking. A number of programs are regarded as artistic tools, finally giving artists an opportunity to "create" in the computer medium. But in reality they time and time again manipulate artists, limit creative freedom, and direct artistic activities into predefined sets of behaviors FromAbout del Web de READ_ME 1.2 Software, neutralidad y publicidad gratuita El artista y el poder Es a menudo fácil reconocer el software utilizado para realizar determinada obra (Photoshop, Flash, Director, MAX ) The reliance onsome kind of unconscious, artistic. Useless Utilities, Saul Albert2001 La tecnología más ligada que nunca al poder. Creación vs. destrucción/control: utilizan las mismas herramientas Topaint witha computer is to paint with a machinegun (Norman Klein), Murallas de Jericó El papel del artista es subvertir esta tecnología. Esta subversión es más difícil que llegue desde el uso de las propias herramientas del poder. Señores artistas digitales: hay que aprender a programar! El arte de Macromedia y Adobe Los rotuladores y la flauta dulce Relación Arte y Técnica El arte informático recupera la necesidad del dominio técnico, que se había ido diluyendo a lo largo del siglo. Hoy por hoy, no existen todavía demasiados artistas formados en este campo Como consecuencia de esta situación, si dejamos de lado el terreno más industrial/cultural del CDROM y Webs, mucha producción actual se decanta por los dos polos del abanico: Por un lado el espíritu "científico" circense-tecnológico que muestra los últimos avances y posibilidades. Demos que adolecen en su mayoría de una absoluta falta de contenidos (e.g. animación en 3D) Artistas y programadores The history of the digital and computer-aided arts could be toldas a history ofignorance against programming andprogrammers. Computer programs get locked intoblack boxes, and programmers are frequently consideredtobe mere factota, coding slaves who execute other artist's concepts. Concepts, Notations, Software, Art, FlorianCramer Non-technical peopleseemtobe largely unawarethat theword technician is an insult. Like the term lower-class, it generally refers to someone else. What technician usually means is somebody whose work is less creative than your own. slabatory, 2001 http://slab.org/archives/000003.html Lado "artístico" conceptual, del artista que tiene una idea y la encarga tal cual a un técnico
Sobre la inutilidad del arte The useless alone is truly beautiful; everything else is ugly, since it is the expression of a need, and men s need are, like his pitiful, infirm nature, ignoble and disgusting. The most useful place in the house is the latrines. Mademoiselle de Maupin, Théophile Gautier 1835 Useless Utilities, Saul Albert2001 Cómo es el software inutil? Software Art y Herramientas At first, it is not clear what software art is or should be if it is different from art software what it is not the transmediale jury had for instance one clear idea: tools are not art software. So if something is a tool it cannot compete. I m not arguing about prizes but about statements. As interactivity increases something becomes a tool even if what you do with it i s unclear, uncontrollable, not understandable or vain. you do something with it and it becomes a tool. Let s then omit interactivity. I think that the next path was to search for an uncertain soft purity, at best hard to evaluate. the result seemed to limit art software to a kind of metasoftware, quite restrictive in my opinion. And giving the first prize to the piece which more clearly and militantly followed this trend, is, i believe, a clear step toward "conceptual software art", which takes us back to the 60s, from where, i thought, we were trying to escape. Sergi Jordà, Transmediale 02 Report Lev Manovich Manovich no sólo no es tan restrictivo respecto a cual es el software artístico Manovich postula que los verdaderos artistas del fin de siglo son a view from the future when more people will recognize that the true cultural innovators of the last decades of the twentieth century were int erface designers, computer game designers, music video directors and DJs -- rather than painters, filmmakers or fiction writers whose fields remained relatively stable during this historical period. articles by Licklider, Sutherland, Nelson, and Engelbart from the 1960s are the essential documents of our time; one day the historians of culture would rate them on the same scale of importance as texts by Marx, Freud and Saussur e. Ideología In the 1960s we can find strong conceptual connections between computing and radical art of the period, but withthe sole exception of Ted Nelson (the conceptual father of hypertext) no computer scientist was directly applying radical political ideas of the times tocomputer design. In fact these ideas had a strong effect of the field but it was delayed until the 1970s when Alan Kay and his colleagues at Xerox Parc pursued the vision of personal computer workstation that would empower an individual rather than a big organization. New Media (Manovich) (en construcción) Con notables excepciones, el uso de ordenadores en los medios tradicionales (arquitectura, diseño, fotografía, cine ) no ha conllevadocambios tan radicales comolas revoluciones formales de los 1920s La nueva vanguardia ya no se preocupapor ver o representar el mundoen nuevas formas, sino por acceder y manipular la informaciónacumulada Utiliza los medios tradicionales como material primario Lev Manovich, New Media from Borges tohtml, 2002 Media & Interface (Manovich) Según Manovich, la clásica dicotomía contenido/forma debe ahora reescribirse como contenido/interface La diferencia entre new media design y new media art, radicaría en la novariabilidad de este interface. And it is the work's interface that creates its unique materiality and the unique user experience. To change the interface even slightly is to dramatically change the work. From this perspective, to think of an interface as a separate level, as something that can be arbitrary varied is to eliminate the status of a new media artwork as art. There is another way to think about the difference between new media design and new media art in relation to the content - interface dichotomy. In contrast to design, in art the connection between content and form (or, in the case of new media, content and interface) is motivated. That is, the choice of a particular interface is motivated by work's content to such degree that it can no longer be thought of as a separate level. Content and interface merge into one entity, and no longer can be taken apart. Los nuevos artistas This generationdoes notcare if their work is called artor design. This generationis no longer is interested in "media critique" which preoccupied media artists ofthe last twodecades; insteadit is engaged in software critique. This generationwrites its ownsoftware code to createtheir owncultural systems, instead of usingsamples of commercial media Generation Flash, Lev Manovich 2002 Lev Manovich, Cultural Interfaces and Data Aesthetics, 2002
Es el software art literatura? I know it s a sterile discussion, but I m sure all programmers have had at some point of their live this feeling or idea of "purity". I ve also thought years ago, that computer programming was a kind of literature. Not a literature for everyone, not even for programmers, but for computers. A literature written by humans to be read by computers. In that case, computers should be in the jury, but we all know that, up to now, computers still don t have personal opinions. Sergi Jordà, Transmediale 02 Report Programación, literatura y poesía like poetry, the aesthetic value of code lies in its execution, not simply its written form. However, to appreciate generative code fully we need to 'sense' the code to fully grasp what it is we are experiencing and to build an understanding of the code's actions. The Aesthetics of Generative Code, Alex Mclean, Adrian Ward if ((light eq dark) && (dark eq light) && ($blaze_of_night{moon} == black_hole) && ($ravens_wing{bright} == $tin{bright})){ my $love = $you = $sin{darkness} + 1; }; If light were dark and dark were light The moon a black hole in the blaze of night A raven's wing as bright as tin Then you, my love, would be darker than sin el artista programador el programador artista (en construcción) 2 primeras declaraciones de QuickView on Software Art, AmyAlexander, Florian Cramer, Mathew Fuller, Thomax Kaulmann, Alex McLean, Pit Schultz El papel del artista y la muerte del arte m: you told me during the transmediale that artists are no longer needed. what do you mean by this? That s complicated. If not deeply explained it can sound like a boutade, and on other hand I m not an art theorist, historian or critic. the idea is related with some of the things I ve said about art software. art has not always been what we understood in the XX th century. before the XIX th century, artists were closer to first rank craftsmen. and that didn t prevent them from being also influential thinkers or scientists of their time. the XIX-XX idea of art (mainly explicit in visual arts) seemed to collapse at the end of the century. art could be dead. that doesn t have to be seen as a lost. just as an evolution. thousands of years without this concept have not been less creative. why digital art has to follow this path? because many visual artists have become media artists, and visual critics, theorists and curators have become media cri tics, theorists or curators. good for them, bad for digital. we could be in a new renaissance. there are again so many new things to try, to learn, to experiment, to think about, that this inherited fatalism seems not very helpful. many young creators, luckily, do not care at all about all this shit. Sergi Jordà, Transmediale 02 Report Software y Sociedad El componentecrítico (político, social ) parece un elemento fundamental en el Software Art (y en cualquier Art!) Perocómocomparar el peso o cargasocial de cualquier obra digital contemporánea con la de El propio www Google y otros buscadores Linux y el movimiento Free Software y Open Source Napster y los primerosp2p Que podemos esperar hoyquequedaráde ellas (de cualquier obra digital contemporánea) en un siglo? Software y Sociedad El componentecrítico (político, social ) parece un elemento fundamental en el Software Art (y en cualquier Art!) Perocómocomparar el peso o cargasocial de cualquier obra digital contemporánea con la de El propio www Google y otros buscadores Linux y el movimiento Free Software y Open Source Napster y los primerosp2p Que podemos esperar hoyquequedaráde ellas (de cualquier obra digital contemporánea) en un siglo?
Temas de discusión Arte? No arte? Para qué? Media art, digital art, software art El autor, el programador, la técnica La formacióndel artistadigital Software neutro, software ideológico, software contestatario, radical??? Arte y software, utilidades e inutilidad La poesía del software, los lenguajes de programación La críticade software art, los comisarios, los jurados La exposición del arte, la subvención del arte La venta del arte, vivir del arte Discusión y trabajo Es posibleconcebir Software Art sin llegar a programar? Si el Software Art estátan cerca del concepto, no bastaría con describir el programa? Propuestaalumnos: imaginar una pieza de S.Art y describirla(sin soporte de imágenes) Lecturas Obligadas Artistic Software for Dummies and, by theway, Thoughts About the New World Order. Olga Goriunova, Alexei Shulgin(Readme 1.2) Readme 1.2 Awards Useless Utilities, Saul Albert2001 Transmediale 2002Manifesto del jurado New Media fromborges to HTML, Lev Manovich2001 QuickView on Software Art, Amy Alexander, FlorianCramer, MathewFuller, ThomaxKaulmann, Alex McLean, Pit Schultz Transmediale 02 Report, Interview withsergi Jordà Lecturas Recomendadas Concepts, Notations, Software, Art, FlorianCramer The Aesthetics of GenerativeCode, Alex Mclean, Adrian Ward (pogramación y poesía ) Software Art, Jarguel (de lo poco en castellano, sencillo..) Processor Art, Currents in the Process Oriented Works of Generative and Software Art, Thor Magnusson 2002 Avant-garde as Software, Lev Manovich1999 Whois the Author? Sampling / Remixing / OpenSource, Lev Manovich 2002 GenerationFlash, Lev Manovich 2002 Sergi Jordà, Interview for Soundtoys, May 2003 ARTS, Revista del Cercle de Belles Arts de Lleida, num. 20, septiembre 2003, número dedicado al Arte Electrónico (Abad, Adell, Gianetti, Jordà, Tisselli ) Links runme.org (artículos) Readme 1.2 Transmediale Ars Electronica Lev Manovich Gratin(Groupede Recherches en Art et Technologies Interactives et/ounumériques) Libros (en construcción) Behind the Blip: Essays on the Culture of Software, Matthew Fuller Manovich Danto Wittgenstein Imposturas Intelectuales, Sokal, Bricmont