XPUB & Lens-Based wiki - Recent changes [en]

User:C3/XPUB3/Data science

C3 — Mon, 03 Aug 2026 17:18:41 GMT

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	In 2019 I decided to stop using Spotify and since then I started using various ~~alternatives listed on the~~ alternative. ~~for a while various alternatives~~, ~~but~~ my favourite was ViMusic, a Youtube Music client ~~that allowed me to search~~ and ~~play music~~ without ~~ads~~.		In 2019 I decided to stop using Spotify and since then I started using various programs that I discoverd through [https://alternativeto.net/software/spotify/ alternative to].
			Out of the apps that I tried, my favourite was [https://alternativeto.net/software/vimusic/about/ ViMusic], a Youtube Music client without ads and, most importantly, ''without an account''.

			Sadly, the application got discontinued in 2022, and it quickly stopped working afterwards. This happens frequently with alternatives to streaming software that is paywalled, it requires a lot of work to maintain the project and at some point there is simply no more energy to do it anymore (or the lack of money starts to weigh on the person who creates and maintains the project).


	I ~~ran into~~ a ~~couple~~ of ~~texts~~ that deal with data science ~~in the past two years~~:		I like discovering alternatives to paywalled software and try them out, but I do not like loosing playlists or albums that I have saved over the years, which happens every time a project that I like gets abandoned.
	* <a href="https://thejud.github.io/text-processing-cookbook/index.html">The text processing cookbook, Jud Dagnall~~</a>~~
	* <a href="https://jeroenjanssens.com/dsatcl/">Data Science at the Command Line, Jeroen Janssenn~~</a>~~		ViMusic, though, offers the possibility to export a database, which saves a file to your phone with a .db file extension.


			This file has been sitting on my phone for a while now and from time to time I think "how to read it?" or "can I make use of it? By adding to it maybe?" or "can I use that and import it across different programs?".

			The simple fact that I have this mysterious .db file but that I don't know how to use it made me curious about it.

			'''*incredible timeskip of two years I guess'''

			I have finished XPUB and I am totally resting. I was looking into my bookmarks and found that many months ago I saved two online books that deal with data science:

			- [https://thejud.github.io/text-processing-cookbook/index.html The text processing cookbook, Jud Dagnall]

			- [https://jeroenjanssens.com/dsatcl/ Data Science at the Command Line, Jeroen Janssenn]

User:C3/XPUB3/Data science

C3 — Mon, 03 Aug 2026 16:21:39 GMT

Created page with "In 2019 I decided to stop using Spotify and since then I started using various alternatives listed on the alternative. for a while various alternatives, but my favourite was ViMusic, a Youtube Music client that allowed me to search and play music without ads. I ran into a couple of texts that deal with data science in the past two years: * <a href="https://thejud.github.io/text-processing-cookbook/index.html">The text processing cookbook, Jud Dagnall</a> * <a href=..."

New page

In 2019 I decided to stop using Spotify and since then I started using various alternatives listed on the alternative. for a while various alternatives, but my favourite was ViMusic, a Youtube Music client that allowed me to search and play music without ads.

I ran into a couple of texts that deal with data science in the past two years:
* <a href="https://thejud.github.io/text-processing-cookbook/index.html">The text processing cookbook, Jud Dagnall</a>
* <a href="https://jeroenjanssens.com/dsatcl/">Data Science at the Command Line, Jeroen Janssenn</a>

User:C3/XPUB3

C3 — Mon, 03 Aug 2026 15:35:07 GMT

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	<h2> C3 XPUB3 </h2>		<div style="text-align:center;">
			XPUB3 is secretely XPUB4EVER
			</div>
			<h2>[[User:C3/XPUB3/Data science \| Working with data?]]</h2>

Students

Muyang — Mon, 03 Aug 2026 14:18:28 GMT

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	*[[User:Taaaaaaaaeto\|<span style="color: #FF3361; font-family: monospace; font-size: 18px; margin: 0.5vw; border-style: solid; border-color: black; border-width: 0.6vw; background-color: black; margin-bottom: 10vw;"> <img src="https://media.giphy.com/media/GeimqsH0TLDt4tScGw/giphy.gif" style="width:28px; height:25px;"> Té <span style="text-shadow: 0px 2px 5px #BBFF28;"> •‿•]]		*[[User:Taaaaaaaaeto\|<span style="color: #FF3361; font-family: monospace; font-size: 18px; margin: 0.5vw; border-style: solid; border-color: black; border-width: 0.6vw; background-color: black; margin-bottom: 10vw;"> <img src="https://media.giphy.com/media/GeimqsH0TLDt4tScGw/giphy.gif" style="width:28px; height:25px;"> Té <span style="text-shadow: 0px 2px 5px #BBFF28;"> •‿•]]
	* [[User:ElectricLizard\|Muyang Teng]]
	*[[User:123cld\|<span style="color:white; background-color:black; font-family: Helvetica; font-size: 15px;"> <s>c l a u d i o</s>]][[File:2-black-2-white-flicker-gif.gif\|frameless\|76x76px]]		*[[User:123cld\|<span style="color:white; background-color:black; font-family: Helvetica; font-size: 15px;"> <s>c l a u d i o</s>]][[File:2-black-2-white-flicker-gif.gif\|frameless\|76x76px]]
	*[[User:Samkoopman\|<span style="color:purple; background-color:#00FF34; font-weight:bold; font-family: georgia; font-size: 18px;"> Sam <img src="https://media.giphy.com/media/3o7TKL24zloKqlvfpu/giphy.gif" style="width:80px; height:20px;">]]		*[[User:Samkoopman\|<span style="color:purple; background-color:#00FF34; font-weight:bold; font-family: georgia; font-size: 18px;"> Sam <img src="https://media.giphy.com/media/3o7TKL24zloKqlvfpu/giphy.gif" style="width:80px; height:20px;">]]

SI31

Michael Murtaugh — Mon, 03 Aug 2026 11:09:36 GMT

Readings / Extended Bibliography

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	* Hayles, N. Katherine. Postprint: Books and Becoming Computational. Columbia University Press, 2021.		* Hayles, N. Katherine. Postprint: Books and Becoming Computational. Columbia University Press, 2021.
	* Hayles, N. Katherine. Bacteria to AI: Human Futures with Our Nonhuman Symbionts. University of Chicago Press, 2025.		* Hayles, N. Katherine. Bacteria to AI: Human Futures with Our Nonhuman Symbionts. University of Chicago Press, 2025.
			* Hayles, N. Katherine. "Don't Ban AI from Your Writing Classroom; Require It!". in Poetics Today 45:2. June 2024.
			* Hendrickson, Leah. "Conversations with No One". In Poetics Today 45:2. June 2024.
	* Higgins, Hannah. “An Introduction to Alison Knowles’s The House of Dust.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, 1st ed. University of California Press, 2012. https://www.jstor.org/stable/j.ctv114c7b3.		* Higgins, Hannah. “An Introduction to Alison Knowles’s The House of Dust.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, 1st ed. University of California Press, 2012. https://www.jstor.org/stable/j.ctv114c7b3.
	* Jensen, Erik, Granly, Brandon LaBelle, eds. Radio Territories. Errant Bodies Press, 2007. https://errantbodies.org/project/radio-territories.		* Jensen, Erik, Granly, Brandon LaBelle, eds. Radio Territories. Errant Bodies Press, 2007. https://errantbodies.org/project/radio-territories.

User:Youjung/Introduction to Cloud as Infrastructure/Reflections

Youjung — Thu, 30 Jul 2026 09:49:01 GMT

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	~~2026~~.06.18		== The Cloud We Design In ==
			The Cloud infrastructure has become a far more crucial basis for our design and art practice. It has changed not only how software is produced but also how we design.

	~~Yesterday~~ I ~~took the final exam of~~ this ~~course~~. ~~I am proud~~ of ~~myself for finishing this course without giving up in~~ the ~~middle~~. It was ~~quite challenging~~. I ~~didn't know how~~ to ~~conduct research~~ and ~~write a report as I~~ was ~~more used~~ to ~~making visual language. Also~~ I ~~felt dumb among my intelligent group mates~~. ~~However, learning from Seda and doing~~ the ~~assignments,~~ I ~~learned~~ a lot of ~~insights~~ and ~~feedback~~. ~~And finally, my previous experience, XPUB~~ and what ~~I my future research interest started to connect~~ the ~~dots~~.		Prior to my studies, I worked as a brand designer at IT startups where I witnessed this firsthand. Within IT companies, agility is an important part of their culture. A new product or feature is released rapidly to follow the competitive app market. This not only affects development and UX/UI design but also branding. Normally branding requires several weeks of development, but I was producing outputs according to the service update release timeline. Sometimes I would start and finish a branding project within 2 weeks. Due to this speed, there is no room for iteration, so a well established design system and simplicity was valued. This wasn’t unique to the company I worked for. Most of the IT industry follows the same direction. I think this is the reason why a lot of app interfaces and branding end up looking similar. The internet and the Cloud are what enabled this agile development and this shift changed how we design and in effect, it flattened the output.

	~~Cloud infrastructure is fascinating as it not only changes software production and~~ the ~~economy but also how~~ we ~~design~~. Cloud and ~~design~~, ~~may seem unrelated~~. ~~But as more~~ and ~~more output is published online,~~ we ~~rely~~ on ~~digital~~ tools ~~like web builders with custom CMS like webflow and cargo. By subscribing~~ to ~~these tools~~, ~~it enabled creatives to easily build~~ and ~~manage immersive websites with no coding knowledge~~. ~~But it somehow unifies~~ how ~~a website looks: You can guess if someone made their website with cargo or readymag. That~~ is ~~why I love hand-~~made ~~websites, as I can feel one's personality. It makes a digital space intimate~~.		Let’s look at the design softwares we use. Most of them run on the Cloud. Adobe used to sell their products in shrink-wrapped CDs. But now everything runs on expensive subscriptions and we have no choice but to use them as they are the industry standard. Whenever you open Figma, it asks for a software update. Suddenly there are these AI features popping up that do the work for you, and we start using it without much contemplation. It feels you are lagging behind not following up on these new features. The tools we use are aimed to make the design process optimized, seamless, and scalable. Similar to how software is made.

	~~This Cloud also changed~~ the ~~visual landscape of digital environments we~~ use ~~everyday~~. ~~Imagine how an app interface looks like~~. In the ~~realm of UX/UI design~~, the ~~most important value is efficiency and usability. Companies make the experience as smooth as possible and we~~ are ~~expected~~ to ~~behave in a certain way~~. ~~Efficiency is also~~ a ~~key factor~~. ~~"Design System"~~ is made ~~to make front-end development easier and scalable. This is~~ a ~~by-product of agile software development. It is naive to think usability makes our lives easier. By increasing usability~~, ~~we can easily achieve what the company wants within the interface: spend more time~~, ~~spend more money. Platform company and the user~~, ~~Platform company and Cloud providers~~. ~~This relationship is being repeated recursively not only in software but also in creative fields~~. ~~This course made me realize~~, ~~what~~ we ~~see is a tip of an ice berg and beneath the huge Cloud is changing every aspect of our lives.~~		Consider the web-building scene. People often use web builders that allow them to easily build sites with no coding skills. These services rent out a server for you and you can even purchase a domain through them. It reduces all the hassle, but the designs are confined to the features they provide. The CMS(content management system) unifies how a website looks. It is not difficult to spot websites made from a certain web builder: Cargo, Webflow, Readymag, etc. One can argue that we are free from these tools thanks to coding agents like Claude Code. But without an understanding of how things actually work, can we really claim that we have freedom?

	~~Monopoly - communality~~		During the graduation show period, I witnessed a lot of work made with AI coding agents. This allowed many of the projects to be interactive. However, some projects suddenly stopped working, and the exhibitor was scrambling to fix the problem on the spot using AI itself. Artificial Intelligence has brought accessibility to technology; however we are becoming more reliant on it than ever before. The more seamless technology becomes, the deeper it permeates into our lives. And we lose autonomy without even noticing it.

	~~scattered practices~~		The cloud is morphing, and everything is changing accordingly. It is transforming at a speed we cannot comprehend. It feels radical, even dangerous, to avoid using the cloud. Who can afford to escape this infrastructure? Everything we use is built on the cloud, and there are technological hurdles to using self-hosted servers or open-source tools. And we have bills to pay and deadlines to meet. I am stuck in this awkward position, neither fully embracing these changes nor rejecting them. We are in the middle of the swirl, but we have very little awareness of how it is affecting us. As a designer and an art student, I am left wondering how I should even approach this topic. The only thing I can think of is making a zine about it. Or perhaps a workshop.

	co-op

	~~what~~ can ~~i do, what do i want~~

SI31

Michael Murtaugh — Wed, 29 Jul 2026 09:27:36 GMT

On the Demo Scene

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	See also: Warren Sacke's idea of "Digital Ideology"		See also: Warren Sacke's idea of "Digital Ideology"

			=== Quotes ===

			==== On the Demo Scene / Trackers ====
			<blockquote>
			The scene has a long and storied tradition of building its own tools. Sometimes from scratch, sometimes by stealing ideas or even code from existing offerings. In a combination of teenage inexperience, old habits, a penchant for experimenting and a desire to make things look cool, this has resulted in some rather peculiar user interfaces.
			[https://www.datagubbe.se/scenegui/ Source]
			</blockquote>
			From this blog post, which surveys the idiosyncratic/particularity of UI of scene related editors, there's a great collection of screenshots of trackers.

User:Barbs/PersonalReader/NonEuclideanColdCalifornia

Barbs — Tue, 28 Jul 2026 09:36:00 GMT

Created page with "The form of the paper is a patchwork of quotes and references, described by Le Guin as a "conference". "Utopia is uninhabitable. As soon as we reach it, it ceases to be utopia. As evidence of this sad but ineluctable fact, may I point out that we in this room, here and now, are inhabiting utopia." She talks about California being named "The Golden State" by European settlers who saw it as a wilderness to be tamed into their utopia. They "assumed the role of the creator"..."

New page

The form of the paper is a patchwork of quotes and references, described by Le Guin as a "conference".
"Utopia is uninhabitable. As soon as we reach it, it ceases to be utopia. As evidence of this sad but ineluctable fact, may I point out that we in this room, here and now, are inhabiting utopia."
She talks about California being named "The Golden State" by European settlers who saw it as a wilderness to be tamed into their utopia. They "assumed the role of the creator", reconstructing the world in their image of utopia and destroying what already was, the native american culture populating the area.
"The only reason people want to be masters of the future is to change the past."

"What terrifies us about death is not the loss of the future but the loss of the past."
A big future-oriented power impinged on a present-centered small one wanting to deprive it of its national identity, using <code>the method of organized forgetting.</code>

User:Barbs/PersonalReader

Barbs — Tue, 28 Jul 2026 08:51:54 GMT

A Non-Euclidean View of California as a Cold Place to Be - Ursula K. Le Guin (1982)

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	<!--A Non-Euclidean View of California as a Cold Place to Be-->		<!--A Non-Euclidean View of California as a Cold Place to Be-->
	<div style="border: 1px dashed rgb(149, 133, 193); border-radius: 10px; box-shadow: rgba(109, 75, 181, 0.241) 5px 5px 2px; margin: 5px; padding: 15px;">		<div style="border: 1px dashed rgb(149, 133, 193); border-radius: 10px; box-shadow: rgba(109, 75, 181, 0.241) 5px 5px 2px; margin: 5px; padding: 15px;">
	===A Non-Euclidean View of California as a Cold Place to Be - Ursula K. Le Guin (1982)===		===[[User:Barbs/PersonalReader/NonEuclideanColdCalifornia\|A Non-Euclidean View of California as a Cold Place to Be - Ursula K. Le Guin (1982)]]===
	⟢ '''Read:''' 06/2026<br>		⟢ '''Read:''' 06/2026<br>
	⟢ '''Source:''' EPUB		⟢ '''Source:''' EPUB

Githook

Michael Murtaugh — Sun, 26 Jul 2026 09:57:58 GMT

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	The githook we use for many xpub projects is a very basic one, based on the fact that the web server and gitea (git-server) are on the same server machine.		The githook we use for many xpub projects is a very basic one, using post-receive, based on the fact that the web server and gitea (git-server) are on the same server machine.

	[https://fieldphones.org/git-howto.html This how-to] is very similar.		[https://fieldphones.org/git-howto.html This how-to] is very similar.

	<~~code~~>		<syntaxhighlight lang="bash">
	#! /bin/sh		#!/bin/sh
	GIT_WORK_TREE=/var/www/{website_name}/html git checkout -qf --detach main		GIT_WORK_TREE=/var/www/{website_name}/html git checkout -qf --detach main
	</~~code~~>		</syntaxhighlight>

Githook

Michael Murtaugh — Sun, 26 Jul 2026 09:56:28 GMT

Created page with "The githook we use for many xpub projects is a very basic one, based on the fact that the web server and gitea (git-server) are on the same server machine. [https://fieldphones.org/git-howto.html This how-to] is very similar. <code> #! /bin/sh GIT_WORK_TREE=/var/www/{website_name}/html git checkout -qf --detach main </code>"

New page

The githook we use for many xpub projects is a very basic one, based on the fact that the web server and gitea (git-server) are on the same server machine.

[https://fieldphones.org/git-howto.html This how-to] is very similar.

<code>
#! /bin/sh
GIT_WORK_TREE=/var/www/{website_name}/html git checkout -qf --detach main
</code>

User:Barbs/SummerHomework

Barbs — Fri, 24 Jul 2026 16:07:53 GMT

EXPERIMENTAL GAMES

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	"A MAZE. / Berlin is an international festival, a platform for independent and arthouse games and explores the world and culture of playful media."		"A MAZE. / Berlin is an international festival, a platform for independent and arthouse games and explores the world and culture of playful media."

			=== Game Poems Magazine ===
			''Publication \| [https://www.gamepoems.com/ website]''

			"Game Poems is an online literary magazine dedicated to exploring the artistic and poetic potential of short-form videogames."

	==CONCEPT ART / ILLUSTRATION / COMICS / ZINEMAKING==		==CONCEPT ART / ILLUSTRATION / COMICS / ZINEMAKING==
	* Playgrounds The Art Department		* Playgrounds The Art Department
			** This year they did an open call for speakers for the first time so should keep an eye out for that when next edition approaches.
	* Creative Cargo Festival		* Creative Cargo Festival
	* Art/zine markets		* Art/zine markets

User:Barbs/SummerNotebook

Barbs — Fri, 24 Jul 2026 15:53:58 GMT

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			> [[User:Barbs/SummerHomework]]

	==09 / 07 / 2026==		==09 / 07 / 2026==
	Summer break is here! I notice that taking a break from school and spending my time doing nothing I sometimes get ideas or thoughts that I think will be useful to remember after the break. So this will be my logbook of those!		Summer break is here! I notice that taking a break from school and spending my time doing nothing I sometimes get ideas or thoughts that I think will be useful to remember after the break. So this will be my logbook of those!

User:Barbs/SummerHomework

Barbs — Fri, 24 Jul 2026 15:50:33 GMT

@@ Line 1: / Line 1: @@
-==ASSIGNMENT==
+=ASSIGNMENT=
   '''manetta:'''
-  ''Explore and research existing contexts/places/communities (virtual and/or physical) that relate to your practice, places where you can bring your work.
+  ''Explore and research existing contexts/places/communities (virtual and/or physical) that relate to your practice, places where you can bring your work.''
-  The second year is all about exploring formats to make things public, but also about making public and thus finding what/where/who this public is. Are there any organizations, specific people, festivals, communities, artists, an institution, an online forum, events, seminars, presentations, launches, workshops, or projects happening in the next months that you can plan to visit?
+  ''The second year is all about exploring formats to make things public, but also about making public and thus finding what/where/who this public is. Are there any organizations, specific people, festivals, communities, artists, an institution, an online forum, events, seminars, presentations, launches, workshops, or projects happening in the next months that you can plan to visit?''
-  Concretely, use the summer to start the mapping of this context/public, and bring it to the kick off session on Monday 14 September from 10:00-13:00 in the large project space! You are free to make the map in any way you want, but bring it on paper to class. We will go through all of them together as a group.''
+  ''Concretely, use the summer to start the mapping of this context/public, and bring it to the kick off session on Monday 14 September from 10:00-13:00 in the large project space! You are free to make the map in any way you want, but bring it on paper to class. We will go through all of them together as a group.''
 === Untitled Games Event ===
 ''Amsterdam, Netherlands | [https://untitledgamesevent.nl/ website]''
@@ Line 32: / Line 27: @@
 "The Overkill is an interactive art, games and films festival. With a playful focus, The Overkill reflects on societal challenges through the lens of digital culture. Over 5 days, the festival brings together an exhibition, with a selection of interactive installations and arthouse games, an alternative film program, a series of AV performances, live music and a sharing program with workshops, talks and panels, meetups and many informal encounters."

User:Barbs/SummerHomework

Barbs — Fri, 24 Jul 2026 15:29:54 GMT

Created page with "==ASSIGNMENT== '''manetta:''' ''Explore and research existing contexts/places/communities (virtual and/or physical) that relate to your practice, places where you can bring your work. The second year is all about exploring formats to make things public, but also about making public and thus finding what/where/who this public is. Are there any organizations, specific people, festivals, communities, artists, an institution, an online forum, events, seminars, presentat..."

New page

==ASSIGNMENT==
'''manetta:'''
''Explore and research existing contexts/places/communities (virtual and/or physical) that relate to your practice, places where you can bring your work.

The second year is all about exploring formats to make things public, but also about making public and thus finding what/where/who this public is. Are there any organizations, specific people, festivals, communities, artists, an institution, an online forum, events, seminars, presentations, launches, workshops, or projects happening in the next months that you can plan to visit?

Concretely, use the summer to start the mapping of this context/public, and bring it to the kick off session on Monday 14 September from 10:00-13:00 in the large project space! You are free to make the map in any way you want, but bring it on paper to class. We will go through all of them together as a group.''

==PHYSICAL==

===RADIUS center for contemporary art and ecology.===
''Delft, Netherlands | [https://radius-cca.org/en website]''

"We work collaboratively with artists and other stakeholders to tell the urgent and necessary story of climate and systems change by means of art. We do this through a continuous program, consisting of exhibitions, public and educational programs. Just as systems are made of fossilized stories, we work together with artists to tell stories that will shape the systems of the future. Using imagination and climate action, RADIUS focusses on shaping the blueprints for regenerative and sustainable more-than-human worlds."

=== Untitled Games Event ===
''Amsterdam, Netherlands | [https://untitledgamesevent.nl/ website]''

"a monthly event for experimental games, playable arts, and conversations around play"

* I'm speaking/showcasing here on September 20th !!

=== Sickhouse ===
''Enschede, Netherlands | [https://www.sickhouse.nl/ website]''

"Founded in 2018, Sickhouse is a playful art space exploring society's transformation through digital culture. We present interactive art, films, games, and music through immersive events, exhibitions, screenings, festivals, let's-play, talks, meet-ups, and parties. Our programs are an ongoing research towards The Overkill, our annual festival focused on play, experimentation and fiction as a way to inspire critical reflection, connections and empathy. Sickhouse brings diverse international artists and makers to Enschede, in search of new developments and exploring virtual technologies, new media, gaming, filmmaking, mapping, 3D environments, social media and more. We challenge our audience assumptions with groundbreaking technologies, alternative projects, and fresh perspectives on digital culture."

*

=== The Overkill Festival ===
''Enschede, Netherlands | [https://theoverkill.nl/ website]''

"The Overkill is an interactive art, games and films festival. With a playful focus, The Overkill reflects on societal challenges through the lens of digital culture. Over 5 days, the festival brings together an exhibition, with a selection of interactive installations and arthouse games, an alternative film program, a series of AV performances, live music and a sharing program with workshops, talks and panels, meetups and many informal encounters."

SI31

Michael Murtaugh — Thu, 23 Jul 2026 13:01:30 GMT

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	working title '''Rebooting The Machine: ~~Digital~~ craft for an AI ~~Autumn~~'''		working title '''Rebooting The Machine: A radioplay on digital craft for an AI autumn'''

	Collaboration with Ash Kilmartin and [https://radio.worm.org Radio WORM]		Collaboration with Ash Kilmartin and [https://radio.worm.org Radio WORM]
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	The selection of the radioplay format is a reference to, and the new work will be a restaging of, '''Die Maschine''', a collaboration between the Oulipo writer George Perec and German-language author/translator Eugen Helmlé, produced for German Radio in 1968. The original was a playful/satirical exploration of the nascent possibilities of mixing literature and computation, embodied though a chorus of multiple voices of a mainframe computer and its operator, as they perform a variety of programs that analyze and rework the "input" of a certain well-known poem by Goethe.		The selection of the radioplay format is a reference to, and the new work will be a restaging of, '''Die Maschine''', a collaboration between the Oulipo writer George Perec and German-language author/translator Eugen Helmlé, produced for German Radio in 1968. The original was a playful/satirical exploration of the nascent possibilities of mixing literature and computation, embodied though a chorus of multiple voices of a mainframe computer and its operator, as they perform a variety of programs that analyze and rework the "input" of a certain well-known poem by Goethe.

	The releases will follow the model of ''distributive ~~practices~~'', ~~acknowledging and celebrating the~~ sources and ~~material conditions of its production~~, and will further serve as an embodied critique of the typically unqualified and undifferentiated productions of "generative AI". The format will be '''weekly live streamed radio programs''' produced at the studios of Radio WORM, a single '''live (performance) event in late November''', and a '''final "launch" (of audio, booklet, website) in the 2nd week of December'''.		The releases will follow the model of ''distributive production'', sharing sources in a way to embodies care and anticipates future use, and will further serve as an embodied critique of the typically unqualified and undifferentiated productions of "generative AI". The format will be '''weekly live streamed radio programs''' produced at the studios of Radio WORM, a single '''live (performance) event in late November''', and a '''final "launch" (of audio, booklet, website) in the 2nd week of December'''.

	Key topics to be addressed:		Key topics to be addressed:

			* Historical explorations of the intersections of computation with literature and radio
			* (Automatic) Translation and Multi-linguality
			* Distributive practices, Releasing sources
	* Digital materiality / media archaeology		* Digital materiality / media archaeology
	* Radical referencing, Relational citation		* Radical referencing, Relational citation
	* Distributive practices, Releasing sources
	* Historical explorations of the intersections of computation with literature and radio
	* Orality, Notation, and Performance		* Orality, Notation, and Performance

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	''To be honed down, but forms a set of potential readings and other materials to work with.'''		''To be honed down, but forms a set of potential readings and other materials to work with.'''
			* Barthes, Roland. “The Death of the Author.” 1977. In Image, Music, Text. Fontana Press.
	* Bellow, David. “George Perec’s Thinking Machines.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, 1st ed. University of California Press, 2012. https://www.jstor.org/stable/j.ctv114c7b3.		* Bellow, David. “George Perec’s Thinking Machines.” In Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, 1st ed. University of California Press, 2012. https://www.jstor.org/stable/j.ctv114c7b3.
	* Bender, Emily, and Alex Hannah. The AI Con: How to Fight Big Tech’s Hype and Create the Future We Want. Vintage Publishing, 2025.
	* Cage, John and (!) Knowles, Allison (co-editor). Notations. https://monoskop.org/File:Cage_John_Notations.pdf		* Cage, John and (!) Knowles, Allison (co-editor). Notations. https://monoskop.org/File:Cage_John_Notations.pdf
	* Chiang, Ted. The truth of fact, the truth of feeling. 2013. https://web.archive.org/web/20140222103103/http://subterraneanpress.com/magazine/fall_2013/the_truth_of_fact_the_truth_of_feeling_by_ted_chiang		* Chiang, Ted. The truth of fact, the truth of feeling. 2013. https://web.archive.org/web/20140222103103/http://subterraneanpress.com/magazine/fall_2013/the_truth_of_fact_the_truth_of_feeling_by_ted_chiang
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	* Perec, George, and Eugen Helmlé. La Machine. Seuil, 2025. https://www.seuil.com/ouvrage/la-machine-georges-perec/9782487749252.		* Perec, George, and Eugen Helmlé. La Machine. Seuil, 2025. https://www.seuil.com/ouvrage/la-machine-georges-perec/9782487749252.
	* Perineau, Lucy and Huyghebaert, Pierre. Aïe: Ms Authenticity Gets Sick. 2026. https://encc.eu/articles/aie		* Perineau, Lucy and Huyghebaert, Pierre. Aïe: Ms Authenticity Gets Sick. 2026. https://encc.eu/articles/aie
	* Pickering, Andrew. The Cybernetic Brain: Sketches of Another Future (Chicago: University of Chicago Press, 2010).
	* Robert-Foley, Lily. Experimental Translation. Goldsmiths Press, 2024. https://www.gold.ac.uk/goldsmiths-press/publications/experimental-translation/.		* Robert-Foley, Lily. Experimental Translation. Goldsmiths Press, 2024. https://www.gold.ac.uk/goldsmiths-press/publications/experimental-translation/.
	* Sack, Warren. The Software Arts. MIT Press, 2019. https://mitpress.mit.edu/~~9780262582155~~/~~writing~~-~~machines~~/		* Sack, Warren. The Software Arts. MIT Press, 2019. https://mitpress.mit.edu/9780262039703/the-software-arts/.
	* Weatherby, Leif. Language Machines: Cultural AI and the End of Remainder Humanism. University of Minnesota Press. 2025.		* Weatherby, Leif. Language Machines: Cultural AI and the End of Remainder Humanism. University of Minnesota Press. 2025.
	* Weizenbaum, Joseph. “ELIZA—a Computer Program for the Study of Natural Language Communication between Man and Machine.” Communications of the ACM 9, no. 1 (1966): 36–45. https://doi.org/10.1145/365153.365168.		* Weizenbaum, Joseph. “ELIZA—a Computer Program for the Study of Natural Language Communication between Man and Machine.” Communications of the ACM 9, no. 1 (1966): 36–45. https://doi.org/10.1145/365153.365168.
	* Weizenbaum, Joseph. Computer Power and Human Reason (New York: W.H. Freeman and Company, 1976).		* Weizenbaum, Joseph. Computer Power and Human Reason (New York: W.H. Freeman and Company, 1976).
			* Yuill, Simon. “All Problems of Notation Will Be Solved By the Masses.” Text. Mute, Mute Publishing Limited, May 23, 2008. https://www.metamute.org/editorial/articles/all-problems-notation-will-be-solved-masses.
			* “Protecting Our FLOSS Commons from LLMs” Accessed July 23, 2026. https://blog.codeberg.org/protecting-our-floss-commons-from-llms.html.

	---		---
	* Pirate Care, ed. Graziana, Mars, and Medak		* Pirate Care, ed. Graziana, Mars, and Medak
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	* https://archive.org/details/01-my-fair-lady/06+THE+RAIN+IN+SPAIN.mp3		* https://archive.org/details/01-my-fair-lady/06+THE+RAIN+IN+SPAIN.mp3

	=== Max Headroom, ~~Mod~~ files, and Software Structures ===		=== Max Headroom, MIDI + MOD files, and Software Structures ===

	(Thinking of Software Structures), At their time of creation, digital tools may give the impression, through the employment of simulations or adaptations of other formats or works, as being unbounded, able to become anything. This is echoed I think in Casey Reas's writing of the effective "purity" of his software structure, as somehow separate from the ever changing underlying materiality -- in his case -- Java code and web browser implementations of the day -- when Processing was first created. With time, these systems reveal their own digital particularity as they themselves become historical an in need of particular maintenance.		(Thinking of Software Structures), At their time of creation, digital tools may give the impression, through the employment of simulations or adaptations of other formats or works, as being unbounded, able to become anything. This is echoed I think in Casey Reas's writing of the effective "purity" of his software structure, as somehow separate from the ever changing underlying materiality -- in his case -- Java code and web browser implementations of the day -- when Processing was first created. With time, these systems reveal their own digital particularity as they themselves become historical an in need of particular maintenance.

← Older revision		Revision as of 16:18, 3 August 2026
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