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1. Code

   Mark C. Marino explores some of the ways code is used in art practices and how code has been read and interpreted as a complex sign system that means far more than merely what it does. Includes "What Is Code?", "How Is Code Used In Art", and "How Code Is Read".

   Daniela Ørvik - 29.04.2015 - 14:48

2. The Code Looks Back: Flash Software, Virtual Spectators, and the Interactive Image

   The Code Looks Back: Flash Software, Virtual Spectators, and the Interactive Image

   Alvaro Seica - 05.05.2015 - 16:14

3. Writing with the Code: A Digital Poetics

   This paper (presented at Digital Arts and Culture Conference, Bergen 2000) proposes a digital poetics, which focuses on the possible digital transformations of writing and reading with examples from current cybertextual literature. The paper discusses how programming structures (algorithms, cybernetics, object oriented programming, hypertext) can be interpreted as literary forms. The outcome is a literary way to read programming structures and a discussion of a digital literary poetics. As a consequence this paper argues (by taking some initial steps) for further crossdisciplinary research in the field of digital writing between literary theory and computer science as a way to understand the general cultural impact of the computer and as a way to further develop creative innovation.

   (Source: Author's abstract)

   Alvaro Seica - 06.05.2015 - 13:26

4. Code

   Computer source code is written in a par ticular language, which consists of syntax and semantics. A language’s level is defined fi by how closely tied it is to the computer’s architecture and operation. Some are compiled, others interpreted, and not all languages are lists of instructions or imperatives, for example, functional languages such as Scheme. The “lowest” level languages offer ff the least abstraction from the machine processes, which typically indicates fewer conceptual groupings of processes. In machine languages, for example, instructions go directly to the microprocessor. A highlevel language, such as Java, needs to be compiled, or translated into processor instructions. High-level languages are marked by greater levels of abstraction, and a subset, including BASIC, COBOL , and even SQL , aspire to greater legibility to human readers. Some of the high-level languages, such as Inform 7, which is used to write interactive fiction, a genre of interactive narrative, can accept statements that read like natural language, such as, “The huge green fierce snake is an animal in Mt King” (Crowther and Conley 2011) (see inter active narr ative).

   Sumeya Hassan - 06.05.2015 - 20:16

5. This Is Not the Beginning or the End of Literature

   It is too easy to fall into prognostications of electronic literature as the end of literature or as a new beginning. (...) Such views imply too much teleology, and see electronic literature purely as the unfolding of the possibilities of the apparatus. The rhetorical logic at work is literalization, i.e. taking literary works as the sum of their technical features. (Rui Torres & Sandy Baldwyn, eds. 2014. PO.EX: Essays from Portugal on Cyberliterature and Intermedia. Morgantown, WV: Center for Literary Computing: xv-xvi).

   Hannah Ackermans - 28.11.2015 - 14:53

6. Radio Silence

   This essay takes a media archaeological approach to putting forward haunted media as theory of mediation able to address contemporary networked writing practices communicated across and through multiple media, multiple iterations, multiple sites, and multiple times. Drawing upon Derrida’s invitation to consider the paradoxical state of the spectre, that of being/not-being, this paper considers the paradoxical state of long-distance communications networks. Both physical and digital, they serve as linguistic structures for modes of transmission and reception for digital texts. Composed of source code and output, these texts are neither here nor there, but rather here and there, past and future, original and copy. The in-between state has been articulated in terms of ‘medium’ in Western philosophy since classical times. The complex temporaility of this in-between state is further articulated in this essay through Alexander Galloway’s framing of the computer, not as an object, but rather as “a process or active threshold mediating between two states”.

   J. R. Carpenter - 06.01.2016 - 15:20

7. The Computational Sublime in Nick Montfort's ‘Round’ and ‘All the Names of God’

   What if the post-literary also meant that which operates in a literary space (almost) devoid of
   language as we know it: for instance, a space in which language simply frames the literary or
   poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of
   literary text with non-textual elements, such as mathematical concepts, or with texts that we
   would not normally think of as literary, such as computer code? This article addresses these
   issues in relation to Nick Montfort’s #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in relation to the notions of the ‘computational sublime’ and the ‘event’.

   (Source: Author's Abstract)

   Mario Aquilina - 13.01.2016 - 10:57

8. Exploratory Programming for the Arts and Humanities

   This book introduces programming to readers with a background in the arts and humanities; there are no prerequisites, and no knowledge of computation is assumed. In it, Nick Montfort reveals programming to be not merely a technical exercise within given constraints but a tool for sketching, brainstorming, and inquiring about important topics. He emphasizes programming’s exploratory potential—its facility to create new kinds of artworks and to probe data for new ideas. The book is designed to be read alongside the computer, allowing readers to program while making their way through the chapters. It offers practical exercises in writing and modifying code, beginning on a small scale and increasing in substance. In some cases, a specification is given for a program, but the core activities are a series of “free projects,” intentionally underspecified exercises that leave room for readers to determine their own direction and write different sorts of programs. Throughout the book, Montfort also considers how computation and programming are culturally situated—how programming relates to the methods and questions of the arts and humanities.

   Alvaro Seica - 18.02.2016 - 11:40

9. Code Before Content? Brogrammer Culture in Games and Electronic Literature

   Electronic literature exists at the intersection of the humanities, arts, and STEM: an acronym that itself defines a contested battleground of technical skills. The lack of diversity in STEM has received considerable scrutiny, and computer-related fields particularly suffer from a lack of diversity. Salter notes that this has contributed to the rise of “brogrammer” culture in disciplines with strong computer science components, and with it a rhetorical collision of programming and hypermasculine machismo. Brogrammer culture is self-replicating: in technical disciplines, the association of code with masculinity and men’s only spaces plays a pivotal role in reinforcing the status quo. Given this dramatic under-representation of women in computer science disciplines, the privileging of code-driven and procedural works within the discourse of electronic literature is inherently gendered. The emergence of platforms friendly to non-coders (such as Twine) broadens participation in electronic literature and gaming space, but often such works are treated and labeled differently (and less favorably) from code-driven and procedural works that occupy the same space.

   Hannah Ackermans - 08.02.2017 - 14:15

10. Code and Other Laws of Cyberspace

    Code and Other Laws of Cyberspace is a 1999 book by Lawrence Lessig on the structure and nature of regulation of the Internet.

    The primary idea of the book, as expressed in the title, is the notion that computer code (or "West Coast Code", referring to Silicon Valley) regulates conduct in much the same way that legal code (or "East Coast Code", referring to Washington, D.C.) does. More generally, Lessig argues that there are actually four major regulators (Law, Norms, Market, Architecture) each of which has a profound impact on society and whose implications must be considered (sometimes called the "pathetic dot theory", after the "dot" that is constrained by these regulators.)

    Ana Castello - 02.10.2018 - 18:48

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