the significance of maintaining online access to obsolete Adobe Shockwave Flash (SWF) files through the source code

Anna Mladentseva wrote an interesting article on conservation, archiving and performance of flash-based pieces. She mentions how I kept what was left of Karaoke (2006) on it’s original page, and included at the same page the Rhizome’s Conifer archive of the piece working but also have the original .swf and .fla files available on the website.

On conservation of netart, archiving, code and performance.

Anna Mladentseva (2022): Responding to obsolescence in Flash-based net art: a case study on migrating Sinae Kim’s Genesis, Journal of the Institute of Conservation, DOI: 10.1080/19455224.2021.2007412
https://www.tandfonline.com/doi/full/10.1080/19455224.2021.2007412

This article outlines an alternative method of migration facilitated by reverse engineering techniques—specifically decompilation—and foregrounds the significance of maintaining online access to the obsolete Adobe Shockwave Flash (SWF) files through the source code. On this premise, the source code is re-imagined as a site for further re-enactment, allowing a departure from its current role as a marker of ‘authenticity’.

Filed under: Articles / Texts, Net art, Of interest, archiving, code, conservation, flash, net art, PAMAL, performance, Resurrection Karaoke

A conversation with Naoto.

I love the way the experimental conversation (interactive, generative) for which Naoto Hieda invited me evolves. He uses keywords and hashtags in what looks like a simple hypertext structure, but actually is based on code and javascript.

We started with #anders, #contrainte and #error.
The conversation is ongoing. memoires.glitch.me

This is an image Naoto made after I had send him a photo and a short story.The photo made him think of something romantic, maybe a Monet image. He wrote: “Then I thought about generating an image using an algorithmic model but I stopped because I hate AI generated images. They lack imagination. Instead I made a small program to generate another reality of the photo, which doesn’t look like Monet but it is some thing.” And he also send a link to the code he used: https://editor.p5js.org/micuat/sketches/alaRE_uCJ

#youth #glitch #nature #language #performance #danger #other #different #diagram #posthuman

Filed under: e-literature, Interview, Net art, Performance, research, anders, code, contrainte, conversation, glitch, language, Naoto Hieda, nature, other, youth

Jiji and J.R.

Two books of two friends, female friends, friendins, friendxx …
I present both books together, because, the authors could be interested to meet the book of the other.

Both books make you read differently.

Once upon a [‘high’, ‘spring’, ‘slack’, ‘neap’] tide we
[‘drifted’, ‘coasted’, ‘slid’, ‘slipped’, ‘tacked’] past a [‘bay’,
‘beach’, ‘cape’, ‘cove’, ‘dune’, ‘lagoon’,]

An Ocean of Static by J.R. Carpenter, Penned in the Margins, 2018.

Crahsh. L∅j drpp∅d ah mirrr pahinting n th∅ jjr. AH shrn ahbiss wh∅r∅ th∅r∅ hahd b∅∅n nji sahnd. AH hj∅ in th∅ b∅ahch. Jiji jah∩gh∅d.

Jiji by Lily Robert Foley, Omnia Vanitas Review, Sept. 2016.

On page 4, all o’s are removed.
On page 17, all j’s and l’s are exchanged.
On page 22, h is added to a’s (ah).
On page 94, y is replaced with i.
On page 100, u is replaced with ∩.
On page 123, e is replaced with ∅.

Jiji has its own rules which are transforming the book into a reading machine. The “code” is given from the start.
When I first leafed through the book I was skeptic “It looked impossible to read”. But it wasn’t, my brain adapted and became entangled with the lovers in this “roman à clef”. Incredibly how plastic our brain is, how much of reading is convention, incredible how fast you can learn a new code. I preferred the tragic story, its content mirrored through its form, to the machinic end. Not brave enough. I don’t regret. Jiji stays with me.

J.R. Carpenter also clears the coast at the start in her note to the reader.
This book is made of other books. The poems in this book are composed of facts, fictions, fragments, and codes collected from accounts of voyages undertaken over the past 2,340 years or so, into the North Atlantic, in search of the Northwest Passage, and beyond, into territories purely imaginary. These poems are intended to be read on the page and to serve as scripts for the live performance of a body of web-based works. They retain traces of the syntax and grammar of code language the dense, fragmented archive of the North Atlantic into an astonishing sea of fresh new text.

In An Ocean of Static form and content are also intimately linked. I was again initially skeptic; the book looked so austere.
I like to “play” between choosing an argument and comparing them among themselves. J.R.’s variable texts read as code, as poetry, as a game, and they are deeply strangely personal. They leave me space to be in/with the ocean of noise, hearing faint voices and splinters, that sometimes I recognize as from the past, however are always first-most hers. This is what we are made of. This is what we are. This is how we can speak without ignoring what was. This is how we are entangled with machines.

In this constantly shifting sea of variable
texts a reader will never wash ashore on the same island
twice… and by islands, I really do mean paragraphs.

Et puis : Un poème d’un autre amie: Camille Bloomfield.

Be brave! Other recommended Summer reading : Allison Parrish and Gabriele d’Annunzio.

Filed under: Of interest, An Ocean of Static, books, Camille Bloomfield, code, Jiji, JR Carpenter, Lily Robert-Foley, reading