Open Source Art Again
Rhea Myers2008, FLOSS+Art
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The concept of Open Source continues to inspire artists. But it is an intentionally vague concept that is often more confusing than enlightening. Unpacking this concept involves examination of the practices that are associated with it, and the ethical questions that it obscures. This reveals strategies that are of relevance to contemporary artistic practice and can place artists at the heart of current issues of free speech and the laws and technologies of censorship.
Related papers
Open Source in Art: Originality, Art Process and Digital Preservation
INFuture2009 - Digital Resources and Knowledge Sharing, 2009
Art formed in the digital age has not yet been sufficiently scientifically studied. The problems of representing artworks made with the help of digital technologies are considerably (inter)connected with the need for a detailed elaboration of stylistic, technical, typological and cultural phenomena associated with such forms of contemporary visual expression. This paper will discuss one uncharted segment of this area which was conceived by integrating open source principles of development and distribution of software into the creation of artworks. The emphasis is set on innovations and alterations which open source introduces in the field of digital art, especially in the categories of author and the original. Through the selected examples the authors examine the possibilities of observing structure and creation of artwork that open source enables. While considering the technical innovations, we will also discuss the continuing and evolving tendencies inherent to art, such as transformation from artwork into art process. The authors offer recommendations on the means of storing, saving and communicating these specific art forms. In their research the authors apply an interdisciplinary approach which includes methodologies of art history and visual communications as well as information sciences.
Open Source and New Media Artists
Human Technology: An Interdisciplinary Journal on Humans in ICT Environments, 2007
This paper deals with the open source method practiced within the new media art context. I present a case study on an international festival, PixelACHE 2005, which was organized by and for new media artists and served as a platform for demonstrations of new media projects and as a meeting place for experimental new media artists. In this article I discuss how new media artists adapted the open source ideology. Open source is seen both as a more liberal method of distribution and as an open joint creative process. I was particularly interested in what kind of motives the new media artists had for taking part in the PixelACHE festival and the joint artistic creative process. In my analysis, I found four different groups that have diverse motives for participating in open source art projects. One group contains the key persons who use the open source network as an important reference in their professional image. Members of the second and third group are new media artists who earn their main income in either the public or corporate sector and use open source projects as a learning platform. The fourth group comprises young enthusiasts who are seeking jobs and professional networking opportunities in the open source network.
Copyright, Cultural Production and Open-Content Licencing
This article seeks to introduce the complex world of open-content licences against the backdrop of the massive expansion of copyright in recent years and the increasing threat posed by copyright licences to the world of cultural production. The world of open content has been inspired by the free software movement and hence this article begins with an overview of the conceptual challenges posed to copyright by free software movement. It then moves into an analysis of the ways in which the terms of free software may be understood for the purposes of cultural production and what such a translation may entail. We then go through a brief survey of the history of open- content licences and discuss a few routes through which we may read licences not only as legal documents but also as cultural documents.
Acting through technology: The proliferation of open source practices and its consequences
2016
The internet has enabled new forms of sharing and collaboration which arguably have been pioneered by early open source communities (Coleman 2013). The availability and modifiability of the underlying technologies and infrastructures combined with the technological affordances of the internet has allowed open source advocates to use technology as a form of expression: they not only act with available technology, but through it by creating technical infrastructures that express ideas and concepts about “how economy and society should be ordered collectively” (Kelty, 2008, p. 28). Kelty (2008) described open source as an experimental system made up of five key practices: sharing source code, defining openness, writing copyright licenses, coordinating collaborations, and forming a movement. These practices can be adopted and appropriated by actors in almost every area of social life, from encyclopedic knowledge (Wikipedia) to activism (Beyer, 2014) or creativity online (Creative Common...
21st Century Wundermaschines: Mechanical Art Practice in Open Source Culture
This article discusses the implications of open source culture within new media art practice from a practitioner's perspective of view. This article firstly discusses contemporary scholars' work on the notion of 'computer code as magic incantation'. This interlinks digital media with the pre-modern esoteric experience to provide a research context. This discussion is followed by the description of artists' advantages of working within an open source society which includes the efficient solution of technical and conceptual problems. Further, the thesis focuses on the new challenges the code sharing culture has brought to the artists: while the mysterious cover of techniques were revealed, how do the artists discard the conventional notion of 'skill pioneer' and 'technique creator', and further produce art work with unique qualities? In order to provide a possible solution to these questions, the author would like to introduce the notion of 'Zombie media', an approach of applying media archaeology into artistic methodology advocated by media archaeologist Jussi Parrika. This discussion illustrates contemporary machine prototyping with the reuse, re-exploration and circuit bending of old media. This method proposes a depunctualization of media and the opening, understanding and hacking of concealed or blackboxed systems. It also suggests that media never dies: it decays, rots, reforms, remixes, gets historicized and reinterpreted. Finally, this article illustrates how this method of coded magic merging with zombie media can be applied by individuals to create unique experience, and how art practice corresponds with open source culture.
Beyond Open Source Software: Framework And Implications For Open Content Research
The same open source philosophy that has been traditionally applied to software development can be applied to the collaborative creation of non-software information products, such as books, music and video. Such products are generically referred to as open content. Due largely to the success of large projects such as Wikipedia and the Creative Commons, open content has gained increasing attention not only in the popular media, but also in scholarly research. It is important to rigorously investigate the workings of the open source process in these new media of expression. This paper introduces the scope of emerging research on the open content phenomenon, other than open source software. We develop a framework for categorizing copyrightable works as utilitarian, factual, aesthetic or opinioned works. Based on these categories, we consider the applicability of some implications of findings from open source software research for open content. We review some key theory-driven findings ...
Unconference Proceedings: Free/Libre technologies, arts and the commons (edited volume)
Unconference Proceedings: Free/Libre technologies, arts and the commons , 2020
The Unconference was organized (Cyprus, May-June 2019) by the University of Nicosia Research Foundation as part of project PHYGITAL, and co-organized in collaboration with Lakatamia Municipality, the Fine Arts Programme, Department of Design and Multimedia, and hack66. The project Phygital was carried out at the local level as a collaboration between the University of Nicosia Research Foundation and Lakatamia Municipality.
Beyond Open Source Software: An Introduction to Researching Open Content
SSRN Electronic Journal, 2000
The same open source philosophy that has been traditionally applied to software development can be applied to the collaborative creation of non-software information products, such as books, music and video. Such products are generically referred to as open content, free content, or free cultural works. Due largely to the success of large projects such as Wikipedia and the Creative Commons, open content has gained increasing attention not only in the popular media, but also in scholarly research. It is important to rigorously investigate the workings of the open source process in these new media of expression. This paper introduces the scope of emerging research on the open content phenomenon, other than open source software.
Open Source as CultureCulture as Open Source
The Open Source model of peer production, sharing, revision, and peer review has distilled and labeled the most successful human creative habits into a techno-political movement. This distillation has had costs and bene ts. It has been dif cult to court mainstream acceptance for such a tangle of seemingly technical ideas when its chief advocates have been hackers and academics. On the other hand, the brilliant success of overtly labeled Open Source experiments, coupled with the horror stories of attempts to protect the proprietary model of cultural production have served to popularize the ideas championed by the movement. In recent years, we have seen the Open Source model overtly mimicked within domains of culture quite distinct from computer software. Rather than being revolutionary, this movement is quite conservatively recapturing and revalorizing the basic human communicative and cultural processes that have generated many good things.
FLOSS
+ Art
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Published 2008 by GOTO10
in association with OpenMute
GOTO10
12 rue Charles Gide
86000 Poitiers
France
[email protected]
www.goto10.org
ISBN 978-1-906496-18-0
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Except for that which originally appeared elsewhere and is
republished here or that which carries its own license, all
content is published under the following conditions:
Copyright © 2008 the authors and GOTO10
Compiled and edited by: Aymeric Mansoux and Marloes de Valk
= = = = = = = = = =
Permission is granted to copy, distribute and/or modify this
document under the terms of any of the following licenses:
(1) the GNU General Public License as published by the Free
Software Foundation; either version 2 of the License, or any
later version. To view a copy of this license, visit
http://www.gnu.org/copyleft/gpl.html or send a letter to the
Free Software Foundation, Inc., 59 Temple Place— Suite 330,
Boston, MA 02111-1307, USA.
(2) the GNU Free Documentation License as published by the
Free Software Foundation; either version 1.2 of the license
or any later version. To view a copy of this license, visit
http://www.gnu.org/copyleft/fdl.html or send a letter to the
Free Software Foundation, Inc., 59 Temple Place— Suite 330,
Boston, MA 02111-1307, USA.
(3) the Free Art License; either version 1.3 of the license
or any later version. To view a copy of the license, visit
http://artlibre.org/licence/lal/en/
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TABLE OF CONTENTS
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Aymeric Mansoux,
Marloes de Valk
006
Preface
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Pedro Soler
014
Artists and Free Software – an Introduction
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Femke Snelting
018
Generous Practices: A Fictional
Conversation, Based on Emails, Physical
Encounters, IRC and a Skype session
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Julien Ottavi
028
The ‘Free’ and New Creative Practices:
Open Source Modular Art-efacts
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - oRx-qX
034
Information Nomads and Community Surfing
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ivan Monroy Lopez
046
Software Cult
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Martin Howse
054
Free Time
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Simon Yuill
064
All Problems of Notation Will be Solved
by the Masses: Free Open Form Performance,
Free/Libre Open Source Software,
and Distributive Practice
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Olga Goriunova
092
Autocreativity: The Operation of Codes of
Freedom in Art and Culture
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Sher Doruff
118
Who Done It? Ethico-Aesthetics,
the Production of Subjectivity
and Attribution
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Florian Cramer
128
The Creative Common Misunderstanding
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Hans-Christoph
Steiner
138
Copyright is for Copying
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Prodromos Tsiavos
154
Common(s) Issues for Digital Art Libraries:
From Open Licensing to Open Collaboration
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ross Rudesch Harley 170
From Open Circuits to Open Distribution:
Can Video Artists Adopt FLOSS Strategies
as their Own?
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Michael van Schaik 180
The Shrink-Wrapped Design Process
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Ricardo Lafuente
192
Appropriation and Type – Before and Today
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Nancy Mauro-Flude
206
Linux for Theatre Makers: Embodiment & Nix
Modus Operandi
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Alex McLean
224
Live coding for free
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Thor Magnusson
232
Expression and Time: the question
of strata and time management in creative
practices using technology
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Dave Griffiths
248
On free software art, design,
communities and committees
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Eleonora Oreggia
254
The Piksel Big Bang
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Fabianne Balvedi
262
Free Studios
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Shahee Ilyas
270
F/LOSS and the Computer Culture of the
Maldives
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Alejandra Maria
Perez Nuñez
280
FLOSS, it’s Relation with Southern Time
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Rob Myers
294
Open Source Art Again
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Credits and
Aknowledgments
314
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Preface
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Aymeric Mansoux
Marloes de Valk
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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- - - - - - - - - - - - - - - - Aymeric Mansoux & Marloes de Valk
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- - - - - - - - - - - - - - - - - - - - - - - Preface
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- - - - - - - - - - - - - - - - - - - - - - - Preface
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - Aymeric Mansoux & Marloes de Valk
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Artists and Free Software –
an Introduction
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Pedro Soler
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(The first version of this text was written
at the request of LABoral in July 2007 and
then updated for publication in November
2007. Thanks to Erich Berger, H.C. Steiner
and Aymeric Mansoux for comments)
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- - - - - - - - - - - - - - - - Pedro Soler
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[1]
http://puredata.org/
[2]
http://artengine.ca/
~catalogue-pd/39Steiner-Henry.pdf
the mapping library
is included in pdextended package :
http://puredata.info/
downloads
[3]
http://www.blender.org
[4]
http://arduino.cc
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- - - - - - - - - - - - - - - - - - - - - - - Artists and Free Software – an Introduction
- - - - - - - - - - - - - - - - - - - - - - - -
[5]
http://cultura.gencat.
net/casm/butlleti/
hemeroteca/n28/sp/
article_01.htm
http://www.hangar.org
[6]
http://mtg.upf.edu/
reactable/
[7]
http://www.ubuntu.com/
[8]
http://piksel.no
http://makeart.
goto10.org/
http://www.laboralcen
trodearte.org/
[9]
http://www.craslab.
org/
http://www.hangar.org/
wikis/lab/doku.php
- - - - - - - - - - - - - - - - Pedro Soler
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Generous Practices:
A Fictional Conversation,
Based on Emails,
Physical Encounters,
IRC and a Skype session
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Femke Snelting
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - Femke Snelting
- - - - - - - - - - - - - - - - -
[1]
groWorld initiative:
minimize borders and
maximize edges,
http://fo.am/groworld/
[2]
‘The Viridian Design
Manifesto’,
http://viridiandesign.
org/manifesto.html
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Generous Practices: A Fictional Conversation,
Based on Emails, Physical Encounters, IRC and a Skype session
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - [3]
Joost Smiers in: Aan
Auteursrecht heb je
niets, De Volkskrant,
2005
[4]
Creative Commons,
http://creativecommons.
org/ Licence Art
Libre,
http://artlibre.org/
[5]
GPL,
http://www.gnu.org/
licenses/licenses.html
#GPL
- - - - - - - - - - - - - - - - Femke Snelting
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Generous Practices: A Fictional Conversation,
Based on Emails, Physical Encounters, IRC and a Skype session
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - [6]
CopyCult – the
original Si(G)n,
http://copycult.
constantvzw.org/
- - - - - - - - - - - - - - - - Femke Snelting
- - - - - - - - - - - - - - - - -
[7]
sutChwon uses
computers to
technically and
socially facilitate
collaboration.
Http://www.fo.am/
sutchwon/sutchwon_text.
html
[8]
Perl (Practical
Extraction and Report
Language) is a
popular programming
language.
[9]
‘Free software is a
matter of liberty,
not price. To
understand the
concept, you should
think of ‘free’ as in
“free speech”, not as
in “free beer”.’
http://
www.gnu.org/philosophy/
free-sw.html
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Generous Practices: A Fictional Conversation,
Based on Emails, Physical Encounters, IRC and a Skype session
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - Femke Snelting
- - - - - - - - - - - - - - - - -
[10]
Lakshmi,
http://www.toyfoo.com/
lakshmi/index.html
[11]
http://xmedk.be/
[12]
Femmes et Logiciels
Libres,
http://samedi.collectifs.
net/
[13]
http://www.reseaucitoy
en.be
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Notes
This text was originally published in:
Mediakunst in Vlaanderen, BAM, 2007.
Translation from Dutch by Sophie Burm.
Contributors
Guy van Belle (GB) is a developer of creative tools for networked performances
and installations. In projects such as mXHz and Society of Algorithm, he
researches modes of collaboration around audiovisual artefacts. Since 2005 he
also works in Bratislava under the name Gívan Belá.
Nik Gaffney (NK) is a systems and media researcher and
a co-founder of FoAM. Gaffney focuses on biological and physical computer models,
generative systems and responsive media environments.
Maja Kuzmanovic (MK) is a generalist and interested in the small miracles of
everyday life. As a co-founder of FoAM, she is involved in many different
projects, be it commissioned by European research institutes or as an independent
artist.
Thomas Laureyssens (TL) develops integrated systems
for interactive storytelling. His practice consists
of experimental interface design, video work and public installations.
Laurence Rassel (LR) is a cyberfeminist and a member of Constant (Organisation
for art and media). She works together with organisations such as Interface3,
Arteleku and Fundació Antoni Tàpies, on projects around archive policy, the
position of the author and technology.
Femke Snelting (FS) is involved in various projects at the intersection of free
software, feminism and design. She is an active member of Constant, De Geuzen (a
foundation for multi-visual research) and the Open Source Publishing design team.
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The ‘Free’ and New Creative
Practices: Open Source Modular
Art-efacts
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Julien Ottavi
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