By Roberto Simanowski
Digital paintings and Meaning bargains shut readings of assorted examples from genres of electronic paintings comparable to kinetic concrete poetry, computer-generated textual content, interactive set up, mapping paintings, and data sculpture. for example, Simanowski deciphers the advanced which means of phrases that not just shape a picture on a display but in addition react to the viewer’s habit; photos which are gradually destroyed through the human gaze; textual content machines producing nonsense sentences out of a Kafka tale; and a mild express above Mexico City’s historical sq., created by means of web clients all around the world. Simanowski combines those illuminating reasons with a theoretical dialogue that employs artwork philosophy and historical past to accomplish a deeper knowing of every specific instance of electronic paintings and, eventually, of the style as a whole.
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Extra info for Digital art and meaning : reading kinetic poetry, text machines, mapping art, and interactive installations
In my own experiences of and documentary evidence about Text Rain, however, the lines can hardly be deciphered even after the viewer has painstakingly collected all the letters. The viewers do not mainly engage in the reading process, but rather test the interface. The fact that the raining letters suddenly form real words contributes to the piece’s fascination and encourages the viewers’ dialogue with the letters, although it does not allow them to read the entire poem, nor does it elicit the intention to do so.
We are the opposite of tongue-tied, if there were such an antonym; We are synonyms for limbs’ loosening of syntax, and yet turn to nothing: It’s just talk. Clearly, Text Rain works with the message of the poem by manipulating the way in which it is read: the conversation between two people, wordless and aimless, which lets the movement of the bodies change body parts into words, becomes a playful conversation between the bodies of the viewers and the letters of the installation. There are two ways to read the installation as a translation of the lines “At your turning, each part/of my body turns to verb” or rather to see the poem as a portrayal of the interaction between user and poem.
Each action that has no other message than its own sheer presence (pure eﬀect) therefore still refers to the code by which it is generated. This narcissistic code, only interested in its own manifestation as action, I call pure code. 22 The problem with this approach is its restriction to technology behind the interface. The “neo-Cartesians” (Munster 2006, 2) concentrate on only one aspect of the features of the code (its exact calculation) while neglecting the other (its appearance in various forms, its reaction to user input).