#art&&code

[rafaelfajardo]

(via Crossings - YouTube)

My son, @dboyfajardo, recorded my conversation with curator, Jeffrey Lambson, about the work currently on display at the Emmanuel Gallery in Denver. I share it here as a 21minute long #gpoy ;)

[rafaelfajardo]

When artists use new technologies as their materials, a number of things happen: 1. They discover ways to extend the expressive and communicative range of tools, devices and systems 2. By making connections that are neither necessarily utilitarian nor profitable, they explore potential for diverse human interest and experience 3. They do the cognitive work to make difficult abstractions more legible and fascinating.

Ruth Catlow - Art and the Blockchain - Digital Catapult Centre Digital Catapult Centre – Developing breakthroughs for the UK's data sharing movement

[rafaelfajardo]

programming, writing code, as sculpture, reducing an infinite possibility space into a beatiful form/counterform.

[rafaelfajardo]

I've written a meditation on my code drawings and archives for a special issue of the the journal Reconstruction. I touch on themes of impermanence, and ephemerality of digital media art.

[rafaelfajardo]

Hello. My name is Hernando Barragán. Through the years, and more recently due to the affairs between Arduino LLC and Arduino S.R.L., I have received a lot of questions from people about the history of Wiring and, of course, Arduino. I was also shown this US Federal Courts website, which presents documents citing my work to support the plaintiff’s claims which, in my opinion, contribute to the distortion of information surrounding my work. The history of Arduino has been told by many people, and no two stories match. I want to clarify some facts around the history of Arduino, with proper supported references and documents, to better communicate to people who are interested, about Arduino’s origin. As well, I will attempt to correct some things that have distorted my role or work by pointing out common mistakes, misleading information, and poor journalism. I will go through a summary of the history first, then I will answer a series of questions that I have been often asked over the years

It’s complicated...

[rafaelfajardo]

Most learn-to-code initiatives do not support this type of creative expression. In many introductory coding activities, students are asked to program the movements of a virtual character navigating through a set of obstacles toward a goal. This approach can help students learn some basic coding concepts, but it doesn’t allow them to express themselves creatively — or develop a long-term engagement with coding. It’s like offering a writing class that teaches only grammar and punctuation without providing students a chance to write their own stories. With Scratch, our goal is for young people to become fluent with coding — not only learning the mechanics and concepts of coding, but also developing their own voice and their ability to express their ideas.

Mitchel Resnick - Scratch: A Different Approach to Coding — Bright — Medium

this is exactly why I have championed Scratch, Hopscotch, and the now shuttered Stagecast Creator.

[rafaelfajardo]

Finally, if the question is ‘do artists need to read such-and-such’ type of literature, the answer is definitely ‘no.’ You never know where ideas come from. I believe in chaos for answers. And the most important thing today, when our tastes are calculated by algorithms, is to find things that you are not looking for. It is always good to follow something that you are not looking for, because if you are looking for something then you are just narrowing, narrowing, narrowing your own perspective. If you only listen to Beyoncé you will only listen to Beyoncé at the end. It is the same for theory, the same for ideas, the same for any material that we need as artists, or curators, or viewers to keep being alive.

The One-Question Interview: What Nicolas Bourriaud Thinks Artists Should Be Reading | Glasstire Texas

<blockquote>“The question I (artist, Ryder Richards) will ask (curator, Nicolas Bourriaud) is wether or not artists should read critical theory?”</blockquote>

In this excerpt I (Rafael Fajardo) am interpreting Bourriaud’s response with the word “calculated” to mean both “sensed” and “generated” at the same time.