We explore code and systems as a medium for creating new forms of art. We consider "software" in an expanded sense, examining the ways that we are programmed by technology around us and the ways we can write software to make change in the world.
The Art of Code - Dylan Beattie
Interface Realisms: The Interface as Aesthetic Form
Until now, digital arts have largely been understood to belong in traditional genres or forms of art: we are said to have electronic literature, net.art, or electronic, techno music. Sometimes interesting discussions have arisen concerning the very ontology of digital art, and questions such as whether net.art should be seen within the tradition of the visual arts or as a form of literature connecting it to the different traditions and questions regulating these arts.[1] While it is not my intent to disconnect digital art from traditional art, or to argue for the irrelevance of the traditional forms of art, I will in the following establish the interface as an aesthetic and critical framework for digital art.
Creative Computing Group by @tgoerke.bsky.social — Grain
Let's start a group at CODIP to explore creative computing. Let's not start by defining creativity nor computing. It would be a trap. Let's collect artifacts instead. Images, text, thoughts,...
Creative Code Denver | Meetup
This group is for people interested in exploring code as a creative medium. It's also for helping people find creative collaborators. (AI stuff is off-topic)**"Who should join?"*** Anyone, at any skill level, who's interested in programming in the context of the arts—whether visual, or sonic, or tac
Emergence: the connected lives of ants, brains, cities and software
In the tradition of Being Digital and The Tipping Point…
derek guy on Twitter / X
I suspect we're approaching a time where if you want to protect creative work, it has to be something that can't be digitized. AI has made is so that creative works speed run through the lifecycle from cool to cliche in a matter of months. This contributes to our cultural… https://t.co/HJYL6Tj6t4— derek guy (@dieworkwear) September 19, 2026
Graffiti: Enabling an Ecosystem of Personalized and Interoperable Social Applications
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The community-first software era
Some ideas about how to encode our values into the tools we use
Revisiting creative behaviour as an epistemic process: lessons from 12 computational artists and designers | Proceedings of the 35th Australian Computer-Human Interaction Conference
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The Social Meaning of the Personal Computer: Or, Why the Personal Computer Revolution Was No Revolution
This essay presents a processual model of the personal computing movement that depicts the PC's birth within the context of complex and often contradictory social strategies, each of which used the meaning of computer technology in a distinctive way. It suggests that innovators are constrained by such processes to depict new artifacts in culturally meaningful ways, so that it is difficult for them to conceive of their technologies in radical terms. The rhetoric of "revolution" aside, innovators found it expedient to draw from the stock of meanings at hand as they created new meaning-frameworks for their artifacts. The result is that the new artifacts did not express a coherent or effective political vision and failed to have the intended social effects. This study implies that new technologies frequently reproduce existing social and meaning systems; if they do bring about social change, the changes may differ from those intended by the innovators.
The Social Meaning of the Personal Computer: Or, Why the Personal Computer Revolution Was No Revolution
This essay presents a processual model of the personal computing movement that depicts the PC's birth within the context of complex and often contradictory social strategies, each of which used the meaning of computer technology in a distinctive way. It suggests that innovators are constrained by such processes to depict new artifacts in culturally meaningful ways, so that it is difficult for them to conceive of their technologies in radical terms. The rhetoric of "revolution" aside, innovators found it expedient to draw from the stock of meanings at hand as they created new meaning-frameworks for their artifacts. The result is that the new artifacts did not express a coherent or effective political vision and failed to have the intended social effects. This study implies that new technologies frequently reproduce existing social and meaning systems; if they do bring about social change, the changes may differ from those intended by the innovators.
Resonite
A novel digital universe with infinite possibilities. Whether you resonate with people around the world in a casual conversation, playing games and socializing. Or you riff off each other when creating anything from art to programming complex games, you'll find your place here.
The Omg Lol Times · We have to talk about AI “art”
Note: In this post I’m going to use the term “AI” as a lazy shorthand for “generative content creation via large-scale pre-trained models” because time is tight and I’ve got arthritis. I know it’s not really “AI”, but please, let me give my typing fingers a break here.
The End of Software
To understand how software will change, we can benefit from studying how technology has changed other industries. History tends to rhyme, if you listen. Before the internet, media behaved very differently—it was expensive to create. You had to pay people to make content, edit it, and distribute ...
The cinematograph, the "noematograph," and the future of AI art
From the cinematograph to the "noematograph," the Hugh-winning author explores how technology has, and may still, breed new artistic forms.
