abstractmachine

Ok, so now I’m really pissed. So I’ve bought the damn upgrade, simply because I have so many old projects languishing on this dying platform. I’ve also been getting email from people because some of these projects are online, and no longer work; and instead of saying, “Macromedia, er Adobe, couldn’t move its sorry ass for over two years to get this software working on your platform,” the alert instead says, “please contact the author,” which in its tone suggests that somehow I’m the one who can’t manage my own projects. Okay, okay, so that’s the way software works, fine. So I get the upgrade, figuring I’ll finally fix these problems.

Five minutes later, this brand-spanking new software has crashed. Hmmm. That sucks. Okay, try again. The damn thing crashes again. Hmmm. Well, apparently, it has something to do with font support; okay, avoid that, try again. “Your application has unexpectedly quit,” and so on for days. Try simple stuff, complicated stuff = crash. Cannot open any significant project from pre-Director 11. I give up. Report bugs. Move on to something else.

So I gave it a few weeks, figuring Adobe would solve the problems that are always hanging around as software goes out the door. I even try copying individual media and scripts by hand, avoiding their “updater” which has now just crashed for the gazillionth time. No luck. Or the thing appears to work for a few seconds, then crashes at some random moment. Try another machine, try a clean install, rinse, lather, repeat…

Finally, I go back to their website. Try the forums, no help there. Try another bug report, probably won’t answer just like a few weeks ago. Try technical support…what!? I have to f@#&§! pay forty dollars just to get help making a supported feature actually work!?

The notion that professional software is somehow more efficient, or (gasp) simply professional, is in the end just a hoax. The illusion that actually having paid for the software will somehow give you some service when it breaks? Yeah, right. To compare real-world experiences: last week I had a bug in OpenFrameworks; I just opened up the code, fixed it, and moved on. I lost maybe a few minutes. Where do I turn when I have a bug in Director? Their website is like a fortress. Oh, sorry, I meant so say a crypt…

• Workshop: Art numérique
• Biennale Puglia 2008, Italy
• Presenter: Douglas Edric Stanley
• Location: Bari Fiera del Levante, padiglione 152 – Regione Puglia
• Time: 16:00
• Date: 26 May, 2008

I will be in Italy next week (from Saturday evening to Wednesday morning), in the Puglia region, for a mini-workshop (Monday afternoon + Tuesday morning) on the usual: code-based art, using development tools in an artistic context, interactive installations, and the type of work we do at the Atelier Hypermédia. Of note, I will be presenting the tools we use, and in that mix will be OpenFrameworks, which might be of interest. It unfortunately is a very short workshop (not even a real workshop if you ask me), so I wouldn’t suggest crossing Italy to come, but if you’re in the region or at the festival, drop by and we’ll talk about how these tools are used.

To be honest, I’ve never been to Italy, and when Seconde Nature invited to sponsor my trip, I said to myself why not? At least the context looks pleasant.

Here is a presentation in English, French and Italian (I cannot confirm the validity of the Italian translation ;-) :

Since 1998, The Atelier Hypermédia in Aix-en-Provence has been developing tools and procedures for creating art via algorithmic means, be it physical, networked, mediatic or social. This involves, principally, teaching young artists the nature of the most popular algorithmic machine — the digital computer — and exploring what sort of work can be created when we are no longer tied to pre-baked software. This short workshop will begin with a presentation of the Atelier’s tools and working methods, followed by an open discussion and demonstration for participants wishing to explore creative production in the domains of: code|art, networked objects, algorithmic media, experimental interfaces, and (last but not least) play. Time and space has also been reserved the following morning for participants wishing to spend more time exploring these tools in a practical context. Three open platforms for artistic production will be used during this mini-workshop: Processing, Arduino, and OpenFrameworks. To participate in the workshop please make a reservation at the Meeting Point.

Depuis 1998, l’Atelier Hypermédia à Aix-en-Provence conçoit des outils et méthodes de création artistique dans un monde de plus en plus traversé par la question de l’algorithme : que ce soit physiquement, à travers les réseaux, dans les médias, ou via les relations sociales. La plupart du temps, cette activité implique l’apprentissage des contours techniques et idéologiques des machines algorithmiques les plus utilisées aujourd’hui : les ordinateurs. L’objectif, par contre, n’est pas la technicité, mais plutôt l’exploration des nouvelles possibilités qui s’ouvrent dès lors que l’artiste refuse la posture du consommateur de logiciels. Ce court workshop, commencera par une présentation des méthodes et outils de travail de l’Atelier Hypermédia, suivi d’une discussion ouverte, accompagné de démonstrations pour des artistes voulant explorer la création artistique dans des domaines telles que : le code|art, les objets orientés réseau, les médias algorithmiques, les interfaces expérimentales, et enfin, les jeux. Du temps et de l’espace sera également consacré le lendemain matin pour les participants voulant passer plus de temps avec ses approches. Trois plates-formes ouvertes, conçues pour et par des artistes, seront utilisées pendant ce mini-workshop : Processing, Arduino, et OpenFrameworks. Pour participer au workshop, merci de bien vouloir réserver votre place au Meeting Point.

Dal 1998 l’Atelier Hypermédia di Aix-en-Provence (Francia) ha sviluppato delle utilità e dei metodi di creazione artistica in un ambiente, che si esso fisico, sociale, virtuale o mediatico, sempre più segnato dalla questione numerica e dagli algoritmi. Nella quasi totalità dei casi la padronanza di questi ambienti dall’apprendimento degli algoritmi e dalla padronanza dei software: in poche parole da una conoscenza approfondita del computer. L’obiettivo, tuttavia, non è il tecnicismo ma l’esplorazione delle nuove possibilità che si aprono nel momento in cui l’artista rifiuta il ruolo di consumatore passivo di software. Il workshop comincerà con una presentazione dei metodi e delle utilità di lavoro dell’Atelier Hypermédia; seguirà una discussione aperta accompagnata da dimostrazioni per gli artisti che vogliono esplorare la creazione artistica nei seguenti ambiti: codice/arte, oggetti in rete, media algoritmi, interfacce sperimentali, e i giochi. Per chi volesse approfondire, inoltre, queste tematiche potrà richiedere la continuazione del workshop nella mattinata del 27 maggio. Durante il workshop saranno utilizzate tre piattaforme libere: Processing, Arduino, et OpenFrameworks. Per partecipare al workshop è richiesta l’iscrizione presso il Meetng Point.

Thomas sent me this link to a rap about coding HTML. I thought it was pretty funny. To bad I didn’t have the link for class last Friday:

So it got me thinking about some other code songs:

Which was probably inspired by Joe Wecker’s DeCSS Decryption Song, which also has lead to this MIDI version of the DeCSS Decryption algorithm (for more information, visit David S. Touretsky’s Gallery of DeCSS descramblers).

On the purely cultural side of code, geeks, and computers, there’s always ytcracker and MC Frontalot:

Which led me to this song, which is kinda ok (euh, maybe not):

I could go on and on, but at least it gave me an excuse to link to this cheezy rock song which tortured us in the 80′s. To be honest, it isn’t really about the same kind of code, but who cares — I mean come on, check out that hair!

I have some catching up to do (I’ve been more active on my Twitter account recently), starting with this catalogue the Tokyo Wonder Site just sent me of Antonin Fourneau‘s recent residency and exhibition at DAF Tokyo.

He and I chatted quite a bit during his residency, and I loved the work he produced there, especially this overloaded joystick.

So when the TWS asked me to write an accompagnying blurb to contextualize Antonin’s residency, I was more than happy to oblige. Here is the short text I wrote, followed by a few photos from Antonin’s work during his stay:

Antontin Fourneau, or the Double-Bearded Frenchman

When starting an artistic career, one of the biggest problems is what to do with all those annoying influences that inspired you in the first place? Borges resumed the problem as that of Hamlet’s ghost: how can the play go on, when all these annoying predecessors keep (literally) popping in their heads? A young artist should resolve these issues fairly quickly, and somehow Antonin Fourneau seems to have solved his artistic identity crisis through a very special secret ingredient: a sophisticated form of amateurism. Antonin’s hydra-monster of influences are very much infused with the energy of popular culture. What better context for inspiration then, than the supercharged japanese recycling-plant of all culture, continually giving birth to new definitions of comics, teenagers, gaming, pop, … But beyond recycling, beyond pop, and beyond the topical accuracy of video games as our future medium, there is an added impression of fun in all of Antonin’s work, a sort of sincerity that only an amateur could understand. “Amateur” — in the sense of lover or aficionado. A delightful ignorance of the cynical blasé of fancy contemporary artists negotiating their next posture. A favorite figure that continually returns in his work, is that of the bearded lady: that cliché of otherness that in its lack of sophistication somehow becomes its own caricature; except of course for the pre-adolescent child, who gazes upon it in rapturous wonderment. When I look at some twenty-odd buttons of all sizes joyfully scattered about a controller, I can only read in it a boyish call to the gaming industry: “please someone, come and bring some joy back into this stick”. In this way, Antonin has stolen that ladybeard and placed it on top of his own, thereby redefining his own — very French, and very devilish — form of a wink, which is both innocent and sophisticated, all at the same time.

Also known as: Perceptive Pixel‘s multi-touch marvel is no match against Tim Russert’s felt-tip pen. My favorite part is actually all the noise Russert makes as he drags out his chart ;-)