História e Tendências dos Media Digitais
Histórias e tendências da Media Digitais, é um curso ministrado por os doutores:
- Miguel Carvalhais.
- Gilberto Bernardes.
- Rosemary Lee.
- Paulo Frias.
Embora neste curso, em primeira instância, tenha pensado em investigar sobre reconhecimento de voz, no decorrer das aulas e minhas leituras relacionadas, um interesse em investigar sobre Live Coding de diferentes perspectivas floresceu em mim.
Você pode ver AQUI a pesquisa que desenvolvi para este curso !!!!
AQUI Deixo também um registro do rascunho que me levou à investigação! 🙂
Codeworks, also known as code poetry or net.writing, are a variant of digital poetry, in turn a subgenre of electronic literature. Codeworks are basically art that integrates computer code in its overall aesthetic, blurring some of the ontological distinction[s] between programming language and literary language. In its broadest sense, code-inspired visual art and Live Coding can be categorized under this taxonomy.
Live coding is a creative technique by which it is possible to compose audiovisual works, interacting directly with the algorithms defined in a programming language, in order to obtain results on the fly. It has been very used in the last decades by musicians in diverse genres that go from traditional to experimental music. The culture of live coding is permeated by the FLOSS culture, since by definition in this artistic format, the source codes of the programs are usually shared publicly (sometimes even in pedagogical ways) with the audience. Free / Libre / Open Source Software (FLOSS) are computer programs that can be used, copied, shared, modified and redistributed with little or no restrictions and that allow access to their source code. The term FLOSS refers equally to the concepts Free and Open in order to unify both approaches.
The research presented below seeks to compose a historical perspective around these topics, in order to put them in tension in terms of their relationship with some sociocultural demands, such as in the conceptualization of free jazz or in the free source idea. In particular, I seek to investigate the Latin American context, where FLOSS and art converge as a criticism against post-industrial capitalism and neoliberal policies. Latin American works draw on an element of autonomy from the functional needs of the structure of code itself, while on the other, they attempt to historicize and politicize it by anchoring code in practices of resistance. Codeworks and Open Source interrupt the growing hegemony of megacorporations through an ethic that emphasizes the collective and the practices related somehow to a hacktivism, understood from the very reappropriation of languages that allows dimensioning a decolonial code, as a authentical latinamerican Live coding emancipatory proposal.
Keywords: Codeworks, poetry, live coding, open source, free software, hacktivism, decolonial code.