content to be different
Outside the technical literature there has been little study of the protocols and standards that run through software and hence media ecologies, digital assemblages and information spaces. Even within software studies, the emphasis has been on software packages, whether business (Fuller 2003a), games (Galloway 2006, WardripFruin 2009), artworks (Fuller 2003b, Parikka 2010, Hertz & Parikka …
Continue reading “The codec moment: raise the standard high”
Adrian Mackenzie begins his discussion of wirelesses (Mackenzie 2010) with ‘Wi-Fi’, noting that the trademark caries instructions as to how the logo should appear. The 45 page brand guidelines (PDF) state that the space around the logo should be equal to three times the width of the (lower-case) ‘i’ which, Mackenzie notes: “seems apt. Wireless …
As well as providing an interesting area between materiality and immateriality, software occupies an evocative space between the static and dynamic. The forensic examination of protocols, standards and code, from a media archaeological or technical point of view reveals objects that are both static and dynamic. They are specific and definite. The pixel, the algorithm, …
Design for a (real)ationship. How does your site establish and nurture a relationship of 'care'?#content2bdifferent # http://j.mp/ihVBFN web as 'customer service medium' . Yeh good stuff but still have problems with each of the terms. #content2bdifferent # Jacques Derrida Interviews Ornette Coleman: http://is.gd/khqTK (via @ubuweb) You couldn't make this stuff up. # http://jr.ly/ugzy (via @jayrosen_nyu) …
In 2006, introducing the Software Studies Workshop at Piet Zwart Institute in Rotterdam, Matt Fuller said: “In a sense, all intellectual work is now ‘software study’, in that software provides its media and its context, but there are very few places where the specific nature, the materiality, of software is studied except as a matter …
Yesterday I wrote: “Later with the birth of software studies, code, algorithms and protocol were elevated as worthy of attention. Software art made them cultural and auratic. Whether they were being deconstructed as ideological or power-full in Fuller’s account of Word or constructed as problematic in Manovich’s identification of the ‘new media object’, they were …