extreme whitespace

Amy Alexander – extreme whitespace

These live coding works are created in the Linux/Unix text terminal computer environment. Its Perl script modifies the terminal into a real-time visual display. Text, spaces, and commands are typed and executed; multiplying, distorting, shifting, and changing colours create lines, patterns and transform graphic visuals. Got to love the computational aesthetics of 2004, low-tech digital text performance and the minimal ingenuousness of programmed text streams illustrative of the early days of the internet. A sample of the digital past.

link 1 / link2

Computer Structures 1-1a, 2a, 3a, 4

Computer Structures 1-1a, 2a, 3a, 4 image 1 of 2
Computer Structures 1-1a, 2a, 3a, 4 – Peter Struycken

“These six offset lithographs are smaller versions of a series of enamel on Perspex paintings created by Peter Struycken. The original paintings measured 150 x 150 cm and were made in 1969.

Struycken created the paintings from a series of computer-generated images produced using a computer program, or code, written by the artist. The first image in the top left corner, entitled ‘PROGRAM’ is an example of this code.

Struycken welcomed the ability of the computer to calculate endless visual alternatives for the arrangement of a series of different coloured squares across the picture plane. These 5 images are from a series of 8 paintings, which were chosen as the final selection from a much larger sequence of images, all of which are versions of one another. For Struycken, the computer enabled him to investigate the role of chance in the creative process, whilst also retaining some measure of control.” – V&A South Kensington collection

Click here for information about the OSTRC program the artist used to create these artworks.

here for more information about digital artist (1960-2000) from the Netherlands

RGBFAQ

RGBFAQ – Alan Warburton

Documentation of 2020 art exhibition RGBFAQ by Alan Warburton at arebyte gallery City Island, London, UK. This post-photographic origin story bridges x-rays and z-buffers, radar and Pixar, video games and machine learning, concluding with insights into how synthetic data is changing the nature of vision forever. ©Alan Warburton

This Artwork has a virus

Like most other things last summer, the 59th Venice Biennale is cancelled in 2020 due to the virus that still disrupts our lives today. At the 49th (2001) Venice Biennale, another virus spread from the Slovenian Pavilion. Biennale.py; both a computer virus and a work of art created by 0100101110101101 (Eva and Franco Mattes) with de hackers group Epidemic. The Slovenian Pavilion at the Biennale’s physical space displayed two computers that infected each other reciprocally with the virus, which was readable from a large banner. The code of the virus written by Epidemic consists of computer code and natural language, giving rise to an executable program while still bearing semantic value. The work spread online too, was printed on T-shirts and recorded on CD-ROMs given to visitors. The spread of the infection, both online and print of the source code served a performative aspect.

image 1: Installation at the 49th Venice Biennale. image 2: Biennale.py source code.

To download you must turn your antivirus off

Eva and Franco Mattes created a spin-off that undergoes an eternal process of infection and disinfection Perpetual Self Dis/Infecting Machine (2001-4).

image 3: Perpetual Self Dis/Infecting Machines. Hand assembled computer, Biennale.py virus, Windows 2000, anti virus software, plexiglass 70 x 50 x 13 cm (https://0100101110101101.org/biennale-py/)