New media art<\/li>\r\n<\/ul>\r\n\r\n\r\n\r\nObviously this is a crisis for art critics, because if you can\u2019t state clearly what you are talking about, how can you set any standards for it?<\/p>\r\n\r\n\r\n\r\n
As we\u2019ll soon see, these ten artworks are not much alike. \u201cFeral File\u201d has managed to impose some commonality on these feral files, so as to make them \u201ccollectible.\u201d<\/p>\r\n\r\n\r\n\r\n
They\u2019ve been assigned spots on the Feral File web page that are the same size. They\u2019re described at similar word-length with the same font. Though they come from ten different artists, they all cost the same amount of money (or they did at first, anyway).<\/p>\r\n\r\n\r\n\r\n
They\u2019re all silent \u2014 they all lack soundtracks.<\/p>\r\n\r\n\r\n\r\n
Technically, most use some Processing code, but not all of them.<\/p>\r\n\r\n\r\n\r\n
There\u2019s also a distinct element of professional polish here that was once rare in works like this. \u201cCode art\u201d composed with Processing was commonly called \u201csketches\u201d or \u201csnippets,\u201d but these Social Code works are by no means sketchy or snippy. They\u2019re lush, they\u2019re heavy, they\u2019re dressed up for public display \u2014 some are even ponderous.<\/p>\r\n\r\n\r\n\r\n
So these are ten time-based, screen-based artworks in which artisanal code executes and some form is generated. We\u2019re witnessing a hacker\u2019s artform, very inchoate and slithery, taking on the non-fungible dignity of collectible videotapes or sixteen-millimeter film reels. Media theorists often say that a change in format changes everything.<\/p>\r\n\r\n\r\n\r\n
Formats for digital art are messy, since no one has ever settled on a standard screen size. Mobiles are the dominant screens currently, a screen the size of your hand. So maybe these artworks are best understood as small visual contraptions held with bent elbows.<\/p>\r\n\r\n\r\n\r\n
That doesn\u2019t make much sense though, since they\u2019re polished to such high fidelity. Maybe they\u2019d make more sense on an iPad, that niche display device beloved by Apple users. However, since open-source figures so heavily in their presentation, maybe they belong on a big Linux desktop workstation with multiple screens.<\/p>\r\n\r\n\r\n\r\n
Since they are commercially available artworks, I decided to max them out. One by one, I beamed them onto the largest bare wall in my house. I let them run on length as I went about my daily business.<\/p>\r\n\r\n\r\n\r\n
Normally one confronts software art in much the way its artists do: by leaning tautly into a screen and pecking at it. Three of these works are interactive, so you have to lean in and tap some input to make them function.
However, projection frees them from these size constraints and brings out their genuinely alien qualities. Even in the jumbo size of sofa paintings, these artworks are not at all like paintings. They\u2019re even radically different from other forms of \u201cdigital art,\u201d such as 3d models or game-design props. Instead, they resemble kaleidoscopes and lava lamps. The aesthetic pleasure they offer is one of process.<\/p>\r\n\r\n\r\n\r\n
Code executes: visual form moves around; often it loops and interpenetrates; it glides and shuffles through various subroutines; it mixes metronome rhythm with poetic recursion.<\/p>\r\n\r\n\r\n\r\n
Let\u2019s take the works in order, so as to get hands-on.<\/p>\r\n\r\n\r\n\r\n
First, Dave Whyte, widely known by his code-art nom-de-plume of \u201cBees & Bombs.\u201d He\u2019s done many years of graphic work in the taut, compact, meme-friendly GIF format. He scatters these small-scale works hither and yon through social media, to the surprise and delight of many.<\/p>\r\n\r\n\r\n\r\n
Bees & Bombs gifs are Internet eye-candy; they\u2019re small, cute, clever and easy to pass on to friends. They\u2019re composed of precise congelations of many small, regular graphic elements that pulsate or burst. These bees-and-bombs gifs resemble a honeycomb of bees bursting like a bomb. So they have an up-beat, animated, greeting-card quality.<\/p>\r\n\r\n\r\n\r\n
His Feral File work \u201cShimmer\u201d is a massive technicolor upgrade of this standard compositional style. All the work in \u201cShimmer\u201d is performed by many small square elements in a rigid grid, something like overworked North Koreans holding up colored placards in their stadium bleachers. The gestalt is dazzling, with waves of diamond-shaped tints rhythmically sweeping all four sides of the screen. It\u2019s the Cadillac version of a Bees & Bombs gif.<\/p>\r\n\r\n\r\n\r\n
It\u2019s a novelty, but novelty fades. \u201cShimmer\u201d becomes peculiar when it\u2019s huge and persistent. This grid-like composition clings to the wall as if born there. It becomes architectural. There\u2019s something ageless and reptilian about it. It\u2019s like the fevered breathing of a scaly Komodo dragon.<\/p>\r\n\r\n\r\n\r\n
However, it\u2019s too vivid to ever feel restful. \u201cShimmer\u201d is too grand and glorious to succeed as a small, lightweight visual gimmick, but it still has the eyeball-grabbing hunger of a social-media GIF. It\u2019s not entirely happy as glorious shimmering wallpaper: it wants to be clicked on, admired briefly, and promptly forwarded somewhere else.<\/p>\r\n\r\n\r\n\r\n
Next, Saskia Freeke\u2019s \u201cEnchanting Luxuriance.\u201d This is an interactive work, featuring many skeletal abstract lozenges with the look-and-feel of handheld mobiles. Hinting at the presence of buttons and screens, these minimal elements pulsate gently in pastel 1980s colors.<\/p>\r\n\r\n\r\n\r\n
They can also be killed \u2014 clicked at by the viewer, and popped like soap-bubbles. But they don\u2019t perish from the screen \u2014 because even more promptly form. They exist in luxurious profusion.<\/p>\r\n\r\n\r\n\r\n
The gaming element makes this one fun, but it\u2019s also tiring. The work\u2019s title gives it an air of wry social commentary, too: maybe these devices are too enchanting in their luxuriance. In the long run, there are just too many of them. \u201cEnchanting Luxuriance\u201d resembles wallpaper more than most Feral File works, in that it has abstract repeating forms and features soothing interior-design colors. However, it\u2019s not soothing; a hundred may feel luxurious, but ten thousand become a trial.<\/p>\r\n\r\n\r\n\r\n
We now come to Frederik Vanhoutte\u2019s \u201cLamia,\u201d which is a typographic experiment deploying the text of \u201cLamia,\u201d a verse-work by the Romantic poet John Keats.
This is the only Feral File work that is literary, and to see such bookishness popping up in software art feels odd.<\/p>\r\n\r\n\r\n\r\n
Keat\u2019s poem is scarcely legible. Vanhoutte\u2019s 8-bit-looking cubic letterforms feel about as non-Romantic as text could get. However, the Keats poem \u201cLamia\u201d is a good choice for a work of tech-art. This tragic poem is about a lonely girl-monster who longs to wed a human being but is defeated and vaporized by an unfriendly scientist. It\u2019s a moral lesson for any technology that longs to become artistic.<\/p>\r\n\r\n\r\n\r\n
I found that a long exposure to \u201cLamia,\u201d seen at the large projector scale, is pleasant and inoffensive. \u201cLamia\u201d is by no means obviously \u201cpoetic,\u201d but it looks like it knows what it\u2019s doing. The regular rhythm of the verses gives it the dignified feel of a grandfather clock.<\/p>\r\n\r\n\r\n\r\n
The color palette is also well-chosen.<\/p>\r\n\r\n\r\n\r\n
\u201cShe was a gordian shape of dazzling hue,
Vermilion-spotted, golden, green, and blue;
Striped like a zebra, freckled like a pard,
Eyed like a peacock, and all crimson barr\u2019d,\u201d<\/pre>\r\n\r\n\r\n\r\n
as the unlucky poet wrote as he advanced toward his tragic early death in Italy.<\/p>\r\n\r\n\r\n\r\n
We now advance toward artwork number four, Maya Man\u2019s \u201cCan I Go Where You Go.\u201d This unusual work features video clips of the artist dancing. It\u2019s also interactive, because the viewer can use Maya Man\u2019s cavorting body as an interactive cursor.<\/p>\r\n\r\n\r\n\r\n
This work is likely better described as \u201cnew media art\u201d than \u201ccode art,\u201d because there is no sense of any software-structure being executed behind the scenes. It\u2019s also by far the most humane work in the \u201cSocial Codes\u201d show, because it features a human being \u2014 and a lithe and attractive female dancer, at that. The work is simple, and the conceit is very direct; I, the dancer, have a body, and you, the screen viewer, also have a body. So, \u201cCan I go where you go,\u201d can we use software art to admit that we both have bodies as well as screens, and that dance is an art-form?<\/p>\r\n\r\n\r\n\r\n
At a large scale and long duration, this artwork is tedious; it\u2019s just two little video loops spooling endlessly. However, it rather embarrasses the other artworks, because it has blood and breath in it; it really is \u201csocial\u201d and sociable, and it makes the others feel desiccated by contrast.<\/p>\r\n\r\n\r\n\r\n
We move on to describing artwork number five (while queuing up Mussorgsky\u2019s \u201cPictures at an Exhibition\u201d on YouTube). This work would be Manolo Gamboa Nuon\u2019s well-titled \u201cUneasy Dream.\u201d
On mature consideration, because I lived with \u201cUneasy Dream\u201d at some length, I\u2019d have to describe this one as the show\u2019s avant-garde. Most code art is eager to show off its tech-chops, it likes to be hard-edged, precise and glittery, but \u201cUneasy Dream\u201d is murky, creepy and melodramatic.<\/p>\r\n\r\n\r\n\r\n
There\u2019s a great deal of code \u201cprocess\u201d going on in \u201cUneasy Dream,\u201d but it\u2019s been artfully disguised; it turns in on itself and conceals its mechanics. In a striking palette of mineral blue and bloody haze, it mostly features long, thin arcs and rectilinear forms. These simple forms progress as if they have some clear intent, yet they never get anywhere; instead, they\u2019re periodically obliterated by big, dreamy, flood-like color washes. On occasion the whole screen woozily ripples and distorts.<\/p>\r\n\r\n\r\n\r\n
\u201cUneasy Dream\u201d is not pretty, but there\u2019s indeed something dreamlike about it; it has the eye-blurred feeling of failing to sleep in too-bright sunlight. Also, even with repeated viewings, it\u2019s very hard to get accustomed to it. Its motifs seem simple, yet it never gets repetitious; its graphic elements embezzle qualities from one another, so that blobs become suddenly sharp-edged, while clear arcs become wormy or snakelike. This effect has to do with the sophisticated color-shading scheme, which seems to be detached from the graphic elements, so that form and color undermine each other, oozing and bleeding across the screen. It\u2019s a messy work, even filthy, yet never chaotic, scratchy or glitchy; it has a Kandinsky-organic feeling, a breathing rhythm.<\/p>\r\n\r\n\r\n\r\n
Like Impressionism or Divisionism, \u201cUneasy Dream\u201d seems to be innovating with the viewer\u2019s perception systems; instead of showing off code\u2019s ability to impose visual forms on screens, it\u2019s perversely using code as a new method to mess with the eye\u2019s ability to visually comprehend.<\/p>\r\n\r\n\r\n\r\n
I don\u2019t like it much, but I admire it; I can see that it\u2019s something special; it\u2019s a different form of code art that somehow \u201cpaints from the shoulder.\u201d<\/p>\r\n\r\n\r\n\r\n
Work number six is \u201cArrels\u201d by Anna Carreras. \u201cArrels\u201d means \u201croots\u201d in the Catalan language and this quite simple work is a series of growing, seething, root-like forms.<\/p>\r\n\r\n\r\n\r\n
The code is very lucid in \u201cArrels.\u201d It\u2019s a series of disks that are gently propelled across the screen. As they move according to their code instructions, the disks overlap and shrink, leaving long, tapered, rootlike forms in their wake. Periodically the thick, twisted roots break up and reveal their fragile tips as little disks, which unmasks the process.<\/p>\r\n\r\n\r\n\r\n
The muted color choices are nice, they have a folk-art feeling. The disks carry sketchy interior lines that give the roots a robust, hand-drawn, volumetric quality. The behavior of the roots varies; they emerge from different angles at different speeds and rhythms, and, rarely but pleasingly, one of them manages to root its way across the entire screen.<\/p>\r\n\r\n\r\n\r\n
There\u2019s nothing earth-shaking about \u201cArrels,\u201d but if I had to live with one of these artworks for the rest of my life, it would likely be this one. It lacks high-tech gosh-wow, but it has the pleasingly gnarly feeling of the roots of an olive tree.<\/p>\r\n\r\n\r\n\r\n
Artwork seven of ten is Raven Kwok\u2019s \u201c1DE94,\u201d which is just as technical as its title. This interactive piece consists of branching black and white grids. The spidery grids will spontaneously mutate if left alone, but if clicked-and-pulled by the viewer, they perform quick little fractal prodigies of re-organization and re-stabilization.
\u201c1DE94\u201d is fun to mess with and has plenty of tech bravura, but its most interesting aspect, to my eye, is that it is also cartoon-animated. Somehow Raven Kwok has given the work the reactive \u201cbounce\u201d beloved of Walt Disney studios in the 1920s and 30s, which gives the code a surprising, perky quality.<\/p>\r\n\r\n\r\n\r\n
Seen at large scale \u201c1DE94\u201d is quite grand and spooky, with a portal-to-cyberspace feeling. But, like a lot of one-shot interactive work, it\u2019s also toylike, and one wouldn\u2019t want to play with it for hours on end. One can imagine automating it as a public art-work, though \u2014 for instance, having passing guests disturb it as they walk through a hotel lobby. It\u2019s hard to beat for a hardcore computational-aesthetic, and it almost shouts \u201cdigital art.\u201d<\/p>\r\n\r\n\r\n\r\n
Artwork eight is Dmitri Cherniak\u2019s \u201cTransparent Grit.\u201d This work consists of gently-colored, rotating lens-flare elements that disintegrate into fine colored particles. These elements also occlude one another, because they\u2019re mapped onto rotating, globe-shaped surfaces that appear to be spheres but aren\u2019t.<\/p>\r\n\r\n\r\n\r\n
\u201cTransparent Grit\u201d is easily as entertaining as most desk-toy snow-globes, and if you\u2019re interested in visual-FX issues such as ray-tracing and lens flares, it\u2019s admirable. But it\u2019s mostly colored mist and empty space, so even at large scale for a solid hour it\u2019s hard to become involved with it. \u201cTransparent Grit\u201d has the feel of a sketch or demo; it\u2019s so wispy and insubstantial that there\u2019s not much at stake.<\/p>\r\n\r\n\r\n\r\n
The ninth and next-to-last artwork is \u201cDada Data,\u201d where Processing veteran \u201cLia\u201d proceeds to roll out her heavy artillery. Most Lia sketches are two-dimensional, brightly colored, swirling and lyrical, but this one is a stark, monumental, rotating skeleton of grid-lines.<\/p>\r\n\r\n\r\n\r\n
A single, central red dot is helpfully included to point out that the conventions of geometry and perspective are being warped, and indeed they are; this busy, splintery construction spins, rotates, wheels and counterwheels, fans out, manifests vertices, interlocks and breaks\u2026 It mocks \u201c3D\u201d simulations by playing perspectival eye-tricks with the thickness of the lines, and the speed at which they move and group together.<\/p>\r\n\r\n\r\n\r\n
At a large size, this grandiose work quickly moves from merely spidery to outright-spectral. There\u2019s even the occasional Op Art seasick lurch. As a code artist, Lia seems one of the practitioners most in touch with the 20th-century heritage of the craft: clean and lucid, seeking maximal effects with minimal means.<\/p>\r\n\r\n\r\n\r\n
This is the work in the show most likely to be appreciated in thirty years. I wouldn\u2019t call it charming or pretty, it\u2019s quite stark and bleak and it sometimes verges on a swoony 4-D Non-Euclidean, but it\u2019s hard to like code art and not like \u201cDada Data.\u201d<\/p>\r\n\r\n\r\n\r\n
Last comes Andrew Benson\u2019s \u201cScrampled,\u201d which likely should have been the first work reviewed. \u201cScrampled\u201d is about the technician\u2019s pleasure in deploying new tools; the artist has invented a software tool all his own, something like a giant glitch-like cursor, and the thing proceeds to bulldoze around the screen, wreaking some brightly-colored, technically-interesting havoc.<\/p>\r\n\r\n\r\n\r\n
If you\u2019re into innovative scrapping and crumpling, then \u201cScrampled\u201d really shoves pixels. Periodically a candy-colored mist arises to erase the trail of devastation and give the thing free rein again.
At wall-size, \u201cScrampled\u201d basically resembles rapid corrosion. It suggests high-speed plaster-decay, a rotting process of popping, decaying and colorful delaminating. So I wouldn\u2019t call it \u201cunnerving\u201d exactly, but this work doesn\u2019t do well outside its tight context of bravura technical pixel-crunching.<\/p>\r\n\r\n\r\n\r\n
So that was the \u201cSocial Codes\u201d show. I enjoyed it about as much as Mussorgsky liked that gallery show he wrote that music about, and I\u2019m looking forward to seeing more. Hopefully \u201cFeral File\u201d will curate other code artists soon, because they abound nowadays. Maybe \u201cFeral File\u201d will become a worthy and dignified professional showplace for software art that respects the craft aspects of code. As opposed to most other NFT art to date, which is frantically cluttered with commercial \u201cblockchain art\u201d that\u2019s intended to flatter the wealthy owners of blockchains.<\/p>\r\n\r\n\r\n\r\n
Money changes everything; the line between fungible and non-fungible may sound abstract or even silly, but it\u2019s heavy, it\u2019s dreadful, and it clearly signals a change of eras.<\/p>\r\n","protected":false},"excerpt":{"rendered":"
\u201cFeral File\u201d is a small and closely focussed NFT art market where the ten curated exhibits double as a gallery show. Everything sold out. It sold so rapidly that the site crashed. These are good times for the non-fungible token. You can\u2019t be the first to \u201cown\u201d these works \u2014 but you can view them. […]<\/p>\n","protected":false},"author":2,"featured_media":22,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"yoast_head":"\n
Social Codes at Feral File | Artmaker Blog<\/title>\n<meta name=\"description\" content=\"Social Codes at Feral File | Artmaker Blog\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/toshareproject.it\/artmakerblog\/social-codes-at-feral-file\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Social Codes at Feral File | Artmaker Blog\" \/>\n<meta property=\"og:description\" content=\"Social Codes at Feral File | Artmaker Blog\" \/>\n<meta property=\"og:url\" content=\"https:\/\/toshareproject.it\/artmakerblog\/social-codes-at-feral-file\/\" \/>\n<meta property=\"og:site_name\" content=\"Artmaker Blog\" \/>\n<meta property=\"article:published_time\" content=\"2021-05-11T21:44:25+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-05-28T13:11:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/toshareproject.it\/artmakerblog\/wp-content\/uploads\/2021\/05\/1_v5h2mMGeYnmkDIIoqBocww.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"2436\" \/>\n\t<meta property=\"og:image:height\" content=\"1564\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Bruce Sterling\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/toshareproject.it\/artmakerblog\/#website\",\"url\":\"https:\/\/toshareproject.it\/artmakerblog\/\",\"name\":\"Artmaker Blog\",\"description\":\"on Toshareproject.it - 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