from their about-section:
"Runme.org is a software art repository, launched in January 2003. It is an open, moderated database to which people are welcome to submit projects they consider to be interesting examples of software art.
Software art is an intersection of two almost non-overlapping realms: software and art. It has a different meaning and aura in each. Software art gets its lifeblood and its techniques from living software culture and represents approaches and strategies similar to those used in the art world.
Software culture lives on the Internet and is often presented through special sites called software repositories. Art is traditionally presented in festivals and exhibitions.
Software art on the one hand brings software culture into the art field, but on the other hand it extends art beyond institutions.
The aim of Runme.org is to create an exchange interface for artists and programmers which will work towards a contextualization of this new form of cultural activity. Runme.org welcomes projects regardless of the date and context of their creation. The repository is happy to host different kinds of projects - ranging from found, anonymous software art to famous projects by established artists and programmers.
Runme.org is structured in two major ways: taxonomically/rationally (category list) and intuitively (keyword cloud).
The best works submitted to Runme.org will be reviewed by the "experts", who will change over time.
Though Runme.org partly grew from the Read_me 1.2 festival, it is an autonomous repository upon which the festival is now based.
The second edition of Read_Me festival took place in Helsinki in May 2003.
Runme.org is a collaborative and open project that was developed by Amy Alexander, Florian Cramer, Matthew Fuller, Olga Goriunova, Thomax Kaulmann, Alex McLean, Pit Schultz, Alexei Shulgin, and The Yes Men. In summer 2003 Hans Bernhard and Alessandro Ludovico have joined the expert team."
<< preface
this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.
it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.
the focus is on the time period from the beginning of the 20th century up to today.
it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.
the focus is on the time period from the beginning of the 20th century up to today.
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- >> runme.org
- >> Guy Debord, "Introduction to a Critique of Urba...
- >> Guy Debord, "A Theory of the Dérive", 1956
- >> exhibition;: "This is Tomorrow", 1956
- >> exhibition: Jack Burnham, "Software", 1970
- >> Robert Mallary, "Notes on Jack Burnham's Concep...
- >> Brian Holmes, "Escape the Overcode", 2006
- >> Edward Shanken, "The House That Jack Built: Jac...
- >> RACTER, "The Policeman's Beard is Half Construc...
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>> cloudy with a chance of tags
followers
.........
- Nina Wenhart ...
- ... is a Media Art historian and researcher. She holds a PhD from the University of Art and Design Linz where she works as an associate professor. Her PhD-thesis is on "Speculative Archiving and Digital Art", focusing on facial recognition and algorithmic bias. Her Master Thesis "The Grammar of New Media" was on Descriptive Metadata for Media Arts. For many years, she has been working in the field of archiving/documenting Media Art, recently at the Ludwig Boltzmann Institute for Media.Art.Research and before as the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the archival material. She was teaching the Prehystories of New Media Class at the School of the Art Institute of Chicago (SAIC) and in the Media Art Histories program at the Danube University Krems.
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