An ongoing research project documenting experiments in language and code, including code art, code poetry, esoteric progframming languages, and other works that break from the norms of computation.
Winner of the 2014 ArtsWriters.org grant from Creative Capital and the Andy Warhol Foundation.
Leonardo (MIT Press)
The esoteric class of programming languages, commonly called esolangs, have long challenged the norms of programming practice and computational culture. Esolangs are a practice of hacker/hobbyists, who don’t primarily think of their work as art. Most esolangs are experiential works; we understand the languages by writing code in them. Through this action, the logic of the language becomes clear. However, a smaller subset of esolangs make their point not through actively writing code, but instead by simply contemplating their rules. We can think of these esolangs as conceptual rather than experiential. Some are designed in such a way that they don’t allow any code to be written for them at all. By stepping away from usability, the conceptual esolangs offer the most direct challenge to the definition of programming language, a commonly used term which is surprisingly unspecific, and usually understood through utility, despite the fact that programming languages predate digital computers. This paper delves into the conceptual esolangs and looks at their challenge to the idea of programming languages.
Leonardo (MIT Press)
International Center of Photography
NOOART, 1st Issue
Programming languages are perhaps the most direct conduit between human and machine: here our commands translate into machine instructions. Brainfuck, a programming language created in 1993, uses this process of translation to explore the breakdown of communication and expose how computers train us to think.
World Picture 6
An off-and-on confabulation taking place between the authors for over a year—a collaborative attempt to both define and theorize a set of practices that is known by various names: databending, datamoshing, image hacking, and of course glitch art. These “notes” are not intended to be exhaustive or in any sense final, but instead represent a set of loosely organized postulates that others might revise, debate, critique or extend.
Includes gl1tchw0rks gall3ry, a collection of images by glitch practioners.
A list of tutorials for those who want to glitch themselves, rather than through tools. Compiled in 2010, and, although there are plenty of newer tutorials, these basics still work.