[spectre] read_me 1.2 winners and honorary mentions

net.cod][a][e][x][r netwurker@hotkey.net.au
Tue, 21 May 2002 10:03:25 +1000


read_me 1.2
software art / software art games
http://www.macros-center.ru/read_me/
on-line: October-February 2001-2002
off-line: 18-19 of May, Moscow
Macros-center, Moscow

+++++++++++++++++++++++++++++++++

The jury (Amy Alexander, Florian Cramer, Cue P. Doll, RTMark and  Alexei
Shulgin) voted to award prizes to three projects: DeskSwap, ScreenSaver, 
and Textension. The term "software art" is a decidedly broad category, and 
each of the awarded projects takes a very different approach to it.  The 
festival guidelines originally called for the awarding of first, second and 
third prizes. However, the jury felt that ranking such disparate projects 
with respect to one another would be artificial.  Therefore, in recognition 
of the fact that "software art" is not simply one genre but encompasses a 
variety of approaches, the jury has decided to dispense with the rankings 
and award each of the three selected projects equivalent prizes.  Since 
read_me 1.2 is one of the pioneering festivals of software art we felt it 
necessary to open up the field rather than to prematurely narrow it down. 
We consider software art to be art whose material is algorithmic 
instruction code and/or which addresses cultural concepts of software. For 
us this
implies not restricting software art to PC user applications, nor even just 
to executable machine code. Each of the three winning projects fits our 
concept of software art in
a different way. Since we wanted to communicate the scope and potential of 
software art as broadly as possible, we gave, in addition to the three 
prizes, a total of five honorary mentions: to Re (ad.htm, Tracenoizer, 
Carnivore, Portret of President and WinGluk Builder. It should be said that 
very few of the pieces submitted had any political or activist usefulness, 
although several pretended to. While the jury appreciated the diversity of 
the works entered, we were somewhat dismayed by the scarcity of political 
content.

SCREEN SAVER by Eldar Karhalev and Ivan 
Khimin  http://www.macros-center.ru/read_me/now/38/
Of the three awarded pieces, "Screen Saver" is the most challenging to the 
concept of software and software art. At first glance, it doesn't seem to 
be software in its own right. The piece consists of a simple step-by-step 
instruction for configuring the screen saver of the Microsoft Windows 
operating system. As a result, the PC is turned into a display of a giant 
rectangle which slowly moves from the left to the right corner of the 
screen and back, slightly modulating its color in the process. This is a 
simple, elegant and beautiful piece. It could be called a black square of 
digital art, but that wouldn't explain why it is interesting as software. 
"Screen Saver" is software in at least two respects: On the one hand, it 
shows that software art can be post- or
meta-software which, instead of being coded from scratch, manipulates 
existing software, managing to turn it upside down even without much 
technical sophistication. It reprograms Windows without employing 
programmer's skills. On the other hand, its formal instruction for
misconfiguring the software is itself a software code. "Screen Saver" thus 
shows that software doesn't have to be written in computer programming 
languages. In an age of code abundance thanks to personal computers and the 
Internet, Software Art no longer needs to design algorithms from scratch, 
but can be disassemblings, contaminations and tweaks of code found in the 
public. This makes contemporary software art distinct from the 
computer-generative art of the 1950s to 1980s. "Screen Saver" exemplifies 
this postmodern condition of software art in an almost paradigmatic 
simplicity. It brings up such questions as: Are there software readymades? 
Can non-programmers reprogram systems? Which does limit or extend which, 
and what does prevail in the end; the manipulation or the object 
manipulated, the artistic hack or Microsoft
Windows?
Another proof of "Screen Saver" being software is the fact that, although 
curious for the jury, its original authors have split over different 
opinions and forked the codebase into two separate projects (similar to 
programs like Emacs and XEmacs). The second was entered under the name 
".scr" to the competition; it differs from "Screen Saver" only in its 
instruction to choose a different font in the Windows screensaver setup. As 
a result, the rectangle doesn't slide from left to right, but bounces in 
all four directions. We found this result inferior to the more minimalist 
and hypnotic "Screen Saver". As in any program code, one changed 
instruction can make a big difference. We therefore feel it is justified 
that we award only "Screen Saver", not ".scr".

One final note: the jury noticed that "Screen Saver" breaks under  Windows 
XP. The rectangle becomes much smaller and only bounces in the middle 
portion of the screen, thus destroying the effect. Like much great art, 
"Screen Saver" is a real period piece.

DESKSWAP by Mark Daggett http://www.macros-center.ru/read_me/now/6/
is a program that critically considers the problem of the standardization 
of personal computer users' workspaces. It allows you to compare your 
desktop with desktops of other people, living in different countries and 
speaking unknown languages. Each time you get terrified by the consequences 
of globalization that manifest themselves in the predetermined aesthetic 
solutions of your surroundings: sofa from IKEA, wallpaper from Microsoft. 
The voyeuristic aspect of the project provides a certain relief, which you 
experience looking at other people's desktops: everything is ok, people are 
using their computers for the same rubbish as you - same programs, same 
files and folders. But - maybe "serious" users just don't have time to play 
around with strange programs like Deskswap? Deskswap is made in a very 
simple and elegant way; it doesn't pretend to be more than it is. It is 
effective, interesting and very user-friendly. The program is used with 
great pleasure by "normal" people (!
  not just by media art curators). That's because Deskswap offers the 
possibility of communication in our time of global alienation.

TEXTENSION by Joshua Nimoy http://www.macros-center.ru/read_me/now/4/
In terms of aesthetic enjoyment, Textension is a clear winner. It is
delightful, exciting, fantastic to play with. It points in many directions 
at once, suggesting that hypertext could be fun and beautiful and profound 
in all kinds of new ways that it isn't today. Interestingly, the way to 
this development is pointed out by the typewriter, which produced beautiful 
things through the physical action of metal. Textension is the first piece 
of software to pick up effectively this very lost thread.

Note: The jury is sad that mode #9 does not have a "save" feature, in which 
branching constructions could be stored by an author and reread by readers, 
in a perpetuation of the author/reader model of literature; zoom and rotate 
features would of course then also be nice.

_________________________________

HONORARY MENTIONS:

RE (AD.HTM by mez breeze http://www.macros-center.ru/read_me/now/71/
An honorary mention goes to "Re (ad.htm" by the Australian artist mez, This 
entry created a lot of discussion in the jury, and quite dissimilar 
individual rankings and opinions. "Re (ad.htm" consists of a selection of 
writings or, to use the artist's terminology, "wurks" that had been posted 
to several net cultural and arts-related mailing lists. They are highly 
condensed pieces written in "mezangelle", an invented hybrid language which 
mixes syntactical snippets of programming languages, network protocols and 
markup code with the English language. The resulting texts can be read in 
multiple, often contradictory ways due to their elaborate use of ambiguity 
and compound ('portmanteau') words noted in rectangular brackets, thus 
resembling regular and Boolean expressions in commandline programs and 
programming languages. In contrast to a merely ornamental code chic, this 
hybrid language is used to expose and deconstruct the epistemological 
politics engendered into seemingly "ne!
  utral", technical codes. It is poetically dense, involving and difficult, 
but also humorous.  Of course, it is not technically executable code, 
although the bracketed expressions expand into multiple combinatory output 
sequences. But above all the mezangelle targets fictitious, fantastic 
compilers, creating a dream-like imagination of metonymic contiguity 
between human bodies and machines. Sure, this topic
has been spelled out in popular culture and media theory multiple times, 
but mez succeeds to free it from all cyber-kitsch by tackling it from 
within, in structure.

"Re (ad.htm" of course provokes the question whether it can be legitimately 
considered software art even more than "Screen Saver". But it clearly is 
art whose material is formal instruction code and which addresses cultural 
concepts of software.  Imaginary, pretended and otherwise broken or 
pseudo-code in fact has a long tradition in poetic software programming, 
starting with the Algol poems of the French Oulipo group in the 1960s and 
not ending with the Perl poetry popular among hackers since the early 
1990s. In the non-digital realm, Russian Futurists, concrete and 
L=A=N=G=U=A=G=E poets approached programming code poetry when they 
experimented with the formal elements of conventional 
language.  mezangelle, which historically departed rather from the net.art 
tradition of experimental ASCII art, differs from the
former in various respects: It neither is a concrete poetry-style 
conceptualist clean-room design of code, nor is it naive haikus or love 
poems like most Perl poetry. So mezangelle does for code poetry what 1990s 
net.art did for ASCII Art when it turns an idea that itself was brilliant, 
but carried out naively, into something contemporary and sophisticated.

PORTRET OF PRESIDENT  by Vladislav Tselischev 
http://www.macros-center.ru/read_me/now/37/
It is a small application that installs a portrait of President Putin in an 
oval frame on the desktop of a computer user. The political and critical 
point of the project is obvious - the author proposes that you decorate 
your desktop (=workspace) the way Russian bosses have done for 
centuries:  they decorate the walls of their offices with portraits of 
higher bosses to show their loyalty. The transfer of such loyal behaviour 
into the virtual sphere is logical; it's inhabited by the same humans with 
all their merits and shortcomings. Also, when a PC user customizes her 
desktop she tells about herself to the people around her. The jury would 
like to point out the simplicity and elegance of this work as well as the 
program's ease of use and its political orientation.

TRACENOIZER by LAN http://www.macros-center.ru/read_me/now/58/
Other projects have worked with the idea of introducing noise into 
surveillance processes for the purpose of allowing individuals to hide 
themselves. The actual effectiveness of such techniques is often 
questionable. Such was the case with TraceNoizer. As far as the jury can 
tell, TraceNoizer is not literally effective at introducing noise into our 
data identities; after several weeks we still couldn't find our data clones 
in search engines at all.  TraceNoizer's interest to the jury, however, was 
its use of algorithmic processes as critique.  In TraceNoizer, static data 
becomes a dynamic process; the omniscient search engine database is 
transformed into something like a video feedback loop. Each generation of 
TraceNoizer cloned webpages is fed back into itself and
(at least in theory) back into the search engines, generating new pages 
that echo their originals - and their subjects - more vaguely with each 
successive generation. The noise added to the database is not external, but 
the search engine turned on itself. Search engines use exclusionary
systems to determine and dictate data "relevance" - from Google's 
incestuous PageRank technology to other search engines' blatant payola 
practices. Given this fact, TraceNoizer's system of having data reproduce 
by looking up its own ass seems an appropriate and entertaining response.

WINGLUK BUILDER by CooLer http://www.macros-center.ru/read_me/now/27/
WinGluk Builder belongs to a cracker culture of "revenge software," i.e. 
creating programs that affect the normal work of an operating system and 
give the impression that your computer is broken or infected by a terrible 
virus.  Despite the saboteur character of the program the jury decided to 
nominate it for the following reasons:
- The program is focused on understanding the computer as an object with 
certain physical and aesthetic qualities and tries to reveal these qualities.
- It uses a computer against its purpose, overcoming the predetermination 
imposed by the pragmatic software creators.
- It takes a critical attitude towards hacker-cracker culture: using 
Wingluk Builder, everyone can feel  like an impressive virus creator by 
pressing a couple of buttons.
-The project implies the possibility of integrating other "viruses" into 
the program (it has  thorough instructions on how to do that)
- An attempt to create a community around itself.
- The project ironically comments on the interface of Windows applications 
- it looks exactly like a proper program with an uninstall feature, a help 
file and all the other features of a decent program that humorously 
contradicts its own purpose.
- And last but not least: the program in fact is not that "evil" - it can't 
destroy your computer or erase your data. It rather gives you an 
opportunity to reflect on the possible results of hackers' activity, on the 
attention with which you should use your computer, as well as on the fact 
that your digital friend does not necessarily have to be a boring hybrid of 
a mailbox and a DVD player, but sometimes can perform strange and funny things.
-       And the lat but not least: the program in fact is not that "evil" - 
it can't destroy your
computer or erase your data. It rather gives you an opportunity to reflect 
on the possible results
of hackers' activity, about attention with which you should use your 
computer, as well as about the fact that your digital friend does not 
necessarily have to be a boring hybrid of a mailbox and a DVD player but 
sometimes can perform strange and funny things.

CARNIVORE by RSG http://www.macros-center.ru/read_me/now/7/
Bosses currently use all kinds of elaborate software to spy on their 
workers. Products like MailCensor (http://www.mailcensor.com) encourage 
bosses to check for "unauthorized transmission of Email containing 
confidential data" and "provide a safe and productive work environment for 
employees, by filtering out offensive/inappropriate email from the Internet."

On some networks, software can be installed by users to spy on their bosses 
as well. Packet sniffers, used by systems administrators to diagnose 
network problems, can often be used or modifed to do just that.  Some 
packet-sniffing software is expensive, some free:

         http://www.tucows.com/, search on sniffer
         http://www.softpile.com/search.phtml?query=sniffer&pp=10&in=title

The trouble is, most of this software wouldn't be easy for a non-technical 
user to convert into a tool for gathering useful information. Those 
products that are easy to use for corporate spying tend to have pricetags 
that are easy for bosses and companies to afford but not for employees. 
Among currently available sniffing products, the jury likes Ethereal 
(http://www.ethereal.com), a free, cross-platform diagnostic tool that can 
be used fairly easily by employees to spy on their boss's e-mail, 
websurfing and other network communications.

An upcoming version of Rhizome's Carnivore is planned to make it easier for 
an art audience to get involved in corporate spying.  The jury hopes it 
will do this.  Since Carnivore is open source software, other people with 
the appropriate programming expertise can also write such modifications 
themselves. For now, Carnivore only runs on specialized servers, and it 
doesn't gather data in a human-readable form.

The relationship of Rhizome's Carnivore to the FBI's spying tool of the 
same name seems to be a matter of concept and hipness-value, but it is not 
explained and is not very obvious.


______________________________________________
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre


.           .    ....         .....
  net.coder][mez][
.net.c][haracter][o.ding][!][. ..
www.cddc.vt.edu/host/netwurker/
  www.hotkey.net.au/~netwurker
.... .               .???  .......