SOFT FREEDOM, Trondheim Matchmaking 2005

AXMEDIS2005 International
Conference, 30 Nov - 2 Dec 2005, Florence, Italy. This will be a significant
 and exciting event on cross-media, production GRID, content
protection, license interoperability, terminals, digital media, P2P, DRM
(digital rights management), MPEG-21, multi-channel delivery, content
modelling, security and distribution, legal aspects, accessibility,
business models, transaction models, multimedia music, workflow.

algorithmic composition
I supervise two students working at a case study in the context of Improsculpt.

For information about the project look at my home page.

The CIDOC Conceptual Reference Model  (CRM) provides definitions and a formal structure for  describing the implicit and explicit concepts and relationships  used in cultural heritage documentation. This means that this is a model to represent information about museum and art exibitions.

I bought this book at the National Gallery in Oslo: 2004 "Electronic Shadows - The Art of Tina Keane", Texts by Richard Dyer, Jean Fisher and Peter Wollen, London: Black Dog Publishing.

I am reading it now in my office, when exams, students, and meetings give me peace.

A sentence from the cover: ”...over the time she has been able to innovate artistically but also technologically, developing new forms of theatrically through the use of digital technology, a resource whose potential she has exploited in a number of pioneering ways...”

Which are these technological innovations? This is a question, which I would like to explore.

there is an article in CACM Vol. 48 n. 8 by Gregory Bond, entitled "Software as art". It is about software code as an artistic medium.
The article refers to Knuth  and his award lecture when he received the ACM Turing Award in 1974. Knuth chose to address the topic of “Computer Programming as an Art”. ”In the lecture, Knuth provides an entertaining overview of the concept of art and its role in science and computer programming. He observes there is an aesthetic associated with both the act of programming and with the program itself, and points out that a programmer’s programming style may provide gratification to the programmer, and possibly also to the program’s reader. more than 30 years ago. Nearly two decades after receiving the Turing Award, Knuth developed “literate programming,” an approach to program development that has the goal of making writing and reading software more enjoyable.”

I must try to find these two articles.

Knuth, D.E. Things a computer scientist rarely talks about. In CSLI Lecture Notes, Number 136. Center for the Study of Language and Information, Stanford, CA, 2001. 5.

Knuth, D.E. Literate programming. In CSLI Lecture Notes, Number 27. Center for the Study of Language and Information, Stanford, CA, 1992.

Though main interests are not in static code as art, but in software that runs as part of artistic installations or other artistic expressions, I find this paper valuable mainly also because it is an attempt to talk to software people about art and stimulating this debate.

is not to become an artist, rather to find software inside art with the goal of finding inspiration for software learning and development.