TIM_MK_016 Chapters from Creative Computing

Faculty of Arts
Spring 2025
Extent and Intensity
1/1/0. 6 credit(s). Type of Completion: zk (examination).
Teacher(s)
Mgr. et Mgr. Adam Franc, Ph.D. (lecturer)
doc. Mgr. Jana Horáková, Ph.D. (lecturer)
Mgr. Monika Szűcsová, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Supplier department: Department of Musicology – Faculty of Arts
Prerequisites
1) Ability to read texts in English
2) Student´s own laptop
3) Basic knowledge of working with PC
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 50 student(s).
Current registration and enrolment status: enrolled: 0/50, only registered: 0/50, only registered with preference (fields directly associated with the programme): 0/50
fields of study / plans the course is directly associated with
Course objectives
This course introduces students to the subject of software art through theoretically oriented lectures as well as more practical seminars. Software art is a new artistic genre that was born at the end of the second millenium. It represents an attempt to grasp the software as an artistic means of expression, which may not be merely a tool for producing classical artistic artifacts (image, music, video), but can become an artistic work itself. Artists devoted to this artistic genre reveal the creative potential of software, develop innovative ways to use it, and create alternative software models.

Course objectives: 1) during the course the students acquaint themselves with the definition of software art in terms of its historical development, aesthetic preferences, prominent artists and artistic groups
2) acquaint students with the genealogy of software art
3) students will get acquainted with the key texts of the subject of software art
4) provide an insight into creative practice used by SW artists in the form of practical tasks
5) understand the position of software art within the wider context of digital art
Learning outcomes
1) ability to discuss the historical aspects of software art and its relation to other artistic tendencies on a specialistic level
2) identify and summarize the basic features of software art
3) ability to analyze a work of software art from different methodological perspectives
4) familiarize students with programming as creative practice (programming as discovery)
5) familiarize students with the anatomy of software art works
Syllabus
  • 1) Introduction to software studies
  • 2) Glitch in programming
  • 3) Conceptual resources of software art - conceptual art, art and technique, net.art
  • 4) Software art – the birth of software art
Literature
    recommended literature
  • BOOKCHIN, Natalie – SHULGIN, Alexei. Introduction to net.art (1994-1999). [online]. 1999. [cit. 23. 11. 2015]. Dostupné z: .
  • YOUNG, La Monte – LOW, Jackson Mac. An Anthology of Chance Operations. New York: Published by La Monte Young and Jackson Mac Low, 1963, 120 s.
  • FULLER, Matthew (ed.). Software Studies/ A Lexicon. Cambridge, Massachusetts: MIT Press, 2008, 334 s. ISBN 978-0-262-06274-9
  • GORIUNOVA, Olga. Art Platforms and Cultural Production on the Internet. New York: Routledge, 2012, 112 s. ISBN 978-0-415-89310-7
  • BROECKMANN, Andreas. Net.Art, Machines, and Parasites. [online]. 1997. [cit. 22. 11. 2015]. Dostupné z: < http://www.nettime.org/Lists-Archives/nettime-l-9703/msg00038.html>.
  • BURNHAM, Jack. Software - Information Technology: Its New Meaning for Art. Exhibition Catalogue. New York: The Jewish Museum, 1970. Catalog Card No.: 70-130192.
  • COX, Geoff – McLEAN, Alex – WARD, Adrian. The Aesthetics of Generative Code. [online]. Paper delivered at the Generative Art 00 conference, Milan, 2000. [cit. 23. 10. 2015]. Dostupné z: .
  • CRAMER, Florian. Concepts, Notations, Software, Art. [online]. 2002. [cit. 3. 1. 2015]. Dostupné z: .
  • BROECKMANN, Andreas. Software Art Aesthetics. Mono, No. 1, July 2007, Porto: FBAUP, s. 158-167
  • GORIUNOVA, Olga – SHULGIN, Alexei. Glitch. In FULLER, Matthew (ed.). Software Studies/ A Lexicon. Cambridge, Massachusetts: MIT Press, 2008, 334 s. ISBN 978-0-262-06274-9. s. 111–114
  • CRAMER, Florian. Words Made Flash. Code, Culture, Imagination. Media Design Research, Rotterdam: Piet Zwart Institute, 2005, 140. s.
  • CRAMER, Florian. Entering the Machine and Leaving It Again: Poetics of Software in Contemporary Art. Essay/Lecture, Milano, 2006.
  • ARNS, Inke. Read_me, run_me, execute_me. Code as Executable Text: Software Art and its Focus on Program Code as Performative Text. in: Rudolf Frieling / Dieter Daniels (Hg.), Medien Kunst Netz 2: Thematische Schwerpunkte, Springer Wien/New York 2005, ISB
  • CRAMER, Florian – GABRIEL, Ulrike. Software Art. in Andreas Broeckmann, Susanne Jaschko (eds.), DIY Media - Kunst und digitale Medien: Software - Partizipation - Distribution. [online]. 2001. Transmediale.01, Berlin, 2001, s. 29-33. [cit. 3. 1. 2015]. Do
Teaching methods
lectures, discussions
Assessment methods
1) Knowledge test
2) Participation: 75%
Náhradní absolvování
In case of a study abroad visit, it is possible to take the course in an alternative form. This involves the ongoing completion of assigned tasks.
Language of instruction
Czech
Study support
https://is.muni.cz/auth/ucitel/io/seznam?fakulta=1421;obdobi=9124;kod=TIM_MK_016;predmet=1544232;uvodnik=a
Further comments (probably available only in Czech)
The course is taught annually.
Information on the extent and intensity of the course: 80 hodin výuky/semestr.
The course is also listed under the following terms Spring 2020, Spring 2021, Spring 2022, Spring 2023, Spring 2024.
  • Enrolment Statistics (Spring 2025, recent)
  • Permalink: https://is.muni.cz/course/phil/spring2025/TIM_MK_016