jonathan kemp

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truncated text from Martin Howse + Jonathan Kemp presentation[[http://www.ultrasoundfestival.com/2003/conference.html|Code as Environment, Environment as Code]] at Univ. Huddersfield Architecture Dept, Ultrasound 2003 

[[http://www.1010.co.uk/chunks.html|chunks]] paper (ultrasnd conference)::


ap = towards an artistic operating system (widest sense of operating
system) - series (ap01,02,03) of (mostly) performative software
projects (examining insertion of performer into an environment as code
and also the expansion of code into environment - ap02 devices)

much of this work occupied with virtual machines - given layers of
abstraction inherent in computation why not play and extend layers -
virtual machine layer which allows for new languages, instruction sets
and non-functional methodologies (agents, mobile, viral and
self-modifying code)

at the same time working on a totally physical level against(?) such
abstractions - coincidence of those two perhaps contradictory strata
(digital as physical) - electro-magnetic + radio stuff (sound)

most recently worked at DRU, Huddersfield - research towards the film
machine fm01 project:

fm01 is not conceived as an editing engine for the manipulation of
generic clips (in an expanding database of all possible scenes
categorised according to a huge number of elements and relations) but
rather offers an enmeshing within script, data streams and
environment, a total software environment for the semi-automated
production, scripting and editing of endless cinema, transposing
non-metaphoric systems and grammar theory (of computer languages,
abstraction and data containers) to the realm of expanded cinema. and
within this context a coding/scripting environment constructed by the
operator

form of this presentation as/of set of nodal points which act
on/expand/contract each other - an exchange - change lens of each
other/nodes = subject of this presentation = abstract diagram for how
this can be achieved in software / in code




J: humans are somatically connected to information in the same way
that they are somatically connected to sound or vision > is sensory,
continuous > and there is a leakage between their topologies > there
is the inclusion of the machinic in a three way confluence - >> that
there are machines perceiving initiates a decoding of perception and
into the perceptual unknown because images are statistical > the
advent of the digital image is freed from its material support and
mobilizes it through networks and recoded as mathematical information
(bits, code) that allows it (the bit-real) to be recomposed infinitely
and to flow indefineably as data

M: how data is represented for the machinic - flatness of data at
nodal point of Conrad Zuse film-strip - point of compression,
abstraction and expansion - film-strips depicting an irrelevancy,
dependent on contingency of location close to the inventor's apartment
used as punch-strip for data which cannot be recognised (as "...")
after the fact (switch of irrelevance of a material used for encoding/
hole of the visibility/invisibility of the encoded), operational codes
which cannot be deciphered for an architecture which cannot be
reconstructed. data and its "coming after" represented for a machinic
past or now

that such a tight nodal point is also expressed within notion of
environmental code - an expansive notion or mechanism (exchange of the
social)

J: theres a lot of data flying about that isn't species dependent for
its encoding, decoding or recoding, and in many ways we are no longer
the sole traders in the realm of the symbolic as a species: for
example, within the interaction of human text with machine coding,
language is not the exclusive domain of human thought but also that of
the internal logic of computers

M: what is easiest for the machinic in terms of that
representation. until now perhaps data conceived as what is easiest
for human to represent, to envision that exchange, I/O in simplest
terms for an output, an accident. how data is for an eye also to
limited extent how such an imagined representation conditions
functionalities of programming language and division user/programmer -
again the know of environmental code - social conditions on technology

J: in machinic vision the multiplicity of images circulating,
articulated by the incessant coding and recoding of information, and
the encoding
jonathan kemp

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