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Florian Cramer: Concepts, Notations, Software, Art

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To date, critics and scholars in the arts and humanities have considered computers primarily as storage and display media, as something which transmits and reformats images, sound and typography. Reflection of the as such invisible layer of software is rare. 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. ``Interactive'' room installations, for example, get perceived as a interactions of a viewer, an exhibition space and an image projection, not as systems running on code. This observation all the more applies to works in which it is not obvious at all that their production relied on programmation and computing. John Cage's 1981 radio play ``Roaratorio'', for example, appears to be a tape montage of a spoken text based on James Joyce's ``Finnegans Wake'', environmental

Florian Cramer: Concepts, Notations, Software, Art Florian Cramer Concepts, Notations, Software, Art March 23rd, 2002 Software and Concept Notations Software in the Arts To date, critics and scholars in the arts and humanities have considered computers primarily as storage and display media, as something which transmits and reformats images, sound and typography. Reflection of the as such invisible layer of software is rare. Likewise, the term ``digital art'' has been associated primarily with digital images, music or audiovisual installations using digital technology. The software which contr

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