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1. Codeworks: Netart on the border of Language and Codes

   Since the founding manifesto of the French Oulipo Group in 1962, in which it proposed writing poetry in computer programming language, there have been forms of electronic literature that not only employ computers primarily as text generators or audiovisual media, but also use programming, command, markup, and protocol codes as their medium. Departing from popular forms of this literature in the computer hacker culture, network artists like jodi, antiorp, and mez have been developing new poetic and artistic languages since the mid-nineties, for which the artist and theorist Alan Sondheim has coined the name “Codework.” Codeworks are technically simple e-mails whose text, however, calls to mind associations of computer crashes and interferences, viruses and spam. Initially, they were sent via network art mailing lists as interferences; later entire forums dedicated to the genre, individual styles, and private languages by individual and often pseudonymous code artists began developing. This program attempts for the first time to transpose codeworks from the written source text to radiophony.

   Johannes Auer - 06.11.2012 - 10:55

2. Collage / Montage: Idensen live!

   eft channel: hyper reader and writer hei+co@hyperdis.de (aka heiko idensen) says "live" what comes to his head ... (= SPEAK) right channel: cut-ups and collages of historical/hysterical hyper texts (= LISTEN) the mix is the bottom line: who's sitting at the mixing desk? when is something faded in resp. out? which parameters and effects are used? a hyper-text audio-book should definitely have a record button! whilst hyper-text theorists and prophets predicted an exponential, uncontrollable increase of the electronic text rotation, publishing houses respond to the growing breakdown of the book market with audio books as a remedy. as a consequence, in dealing with literature a revolution comparable to that in the music industry of the 1980s triggered off with the introduction of the walkman is finally happening: a mobilization of the listening situation taking the urban environment into account; the possibility to mix the internal listening space with any desirable external sound environment or everyday sound-scape.

   Johannes Auer - 06.11.2012 - 11:01

3. Free Lutz!

   50 years ago a calculator generated a literary text for the first time ever. And this was in Stuttgart my hometown.
   Theo Lutz wrote 1959 a program for Zuse Z22 to create stochastic texts. On the advice of the Stuttgardian philosopher Max Bense, he took sixteen nouns and adjectives out of Kafka’s “Schloss,” which the calculator then formed into sentences, following certain patterns. Thus every sentence began with “ein” or “jeder” (“one” or “each”) or the corresponding negative form “kein” or “nicht jeder” (“no” or “not every”). Then the noun, selected arbitrarily from the pool of sixteen, was linked through the verb “ist” (“is”) with the likewise arbitrarily chosen adjective. Then the whole assembly was linked up through “und,” “oder,” “so gilt” (“and,” “either,” “thus”) or given a full stop. Following these calculation instructions, by means of this algorithm, the machine was able to construct such sentences as:

   EIN TAG IST TIEF UND JEDES HAUS IST FERN
   (A day is deep and every house is distant)
   JEDES DORF IST DUNKEL; SO GILT KEIN GAST IST GROSS
   (Every village is dark, thus no guest is large)

   Johannes Auer - 06.11.2012 - 13:51

4. DADA TO GO: A WALKTHROUGH LEVELS

   To trail DADA traces on the net is a possibility to look up loose text satellites on a short-term and to bring singular DADA groups and sources to level a structural gap. Here, it doesn’t make much sense to talk about DADA per se, as approaches to and updates of DADAism as a historical phenomenon are too diverse: for instance, virtual identities settle in – present (babel, hugo baron, frieder rusmann, dadasophin) and historical ones (duchamp, tzara, serner, ball, schwitters), bananas are traded (anna banana) and indexed, art’s and the artist’s death is given shape (kunsttot.de), virtual countries are built (bananaland, rongwrong puppet empire) and, sometimes, even the audience is happily dispensed with (neumerz, dadasophin). DADA TO GO bundles these different traces in an audio text which lets the DADA groups act within an environment which refers to computer games and makes DADAism get a move on. For: Boredom was in the beginning of DADA … (Source: kunstradio.at)

   Johannes Auer - 08.11.2012 - 16:07