<nettime-ann> [event] *RADICAL SOFTWARE* PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS

["netwurker" <netwurker@hotkey.net.au>]

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*RADICAL SOFTWARE*
a cura di / curated by *Domenico Quaranta*

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PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS
TORINO, ACCADEMIA ALBERTINA, 08.03.2006 - 12.03.2006
web. http://www.toshare.it/ - mail. info@toshare.it
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ENGLISH VERSION BELOW

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][MEZ][
_[net]blog to log][ah!rhythm][_, 2006 - 
http://www.livejournal.com/users/netwurker/

[EPIDEMIC]
AntiMafia, 2003 - http://epidemic.ws/antimafia/

AMY ALEXANDER
Scream, 2005 ? http://scream.deprogramming.us/

CORY ARCANGEL (BEIGE) + PAPER RAD
Super Mario Movie, 2005 -
http://beigerecords.com/cory/

MARKETA BANKOVA
Scribble, 2005 - http://www.initialnews.com/scribble

WAYNE CLEMENTS
un_wiki, 2006 - http://www.in-vacua.com/un_wiki.html

GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT
Where-next, 2005 - http://www.where-next.com/

PETER LUINING
Window, 2005; Giant Cursor, 2005; 100 windows, 2005 - 
http://works.ctrlaltdel.org/

K-HELLO
Wasteoftime, 2003 -
http://www.k-hello.org/wasteoftime/itindex.htm

MOLLEINDUSTRIA.IT
McDonalds Videogame, 2006 ?
http://www.molleindustria.it/

ROVEBOTICS
Bush Bot 0.4, 2004 - http://www.bushbot.ath.cx/

UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO
CIRIO
GWEI [Google Will Eat Itself], 2005 ?
http://www.gwei.org/

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If we leave aside its historical precedents, Software
Art, in its classical definition formalized by the
Jury Statement of ?Transmediale 2001? [1] and extended
by Florian Cramer [2], saw the light in 1997 with The
Web Stalker of the English Group I/O/D and with the
theoretical speculation started by one of the software
authors, Matthew Fuller. Right from this first
example and definitions, Software Art reveals its
radical nature. The fact itself of transforming
software from a mere instrument into ?subject? and
?contents? of a cultural and artistic reflection
represents a Copernican revolution liable to be
considered as heresy. Similarly heretic is the idea of
adopting a language (HTML), a protocol of
communication (HTTP) and
the whole system of cultural objects (the web) and
make them visible in a form that contrasts with their
own original function. Software Art is radical even in
its most harmless and politically neutral
manifestations; when, in addition, it overturns the
structure of the browser in controversy with the
standardization of its interfaces, and when it adopts
a slogan that sounds like: ?software is mind control,
get some?, then the controversy turns into poetics,
the prime mover of a creative process.
RADICAL SOFTWARE is an exhibition including some
recent examples of radical software. The name pays
explicit homage to the magazine founded by Ira
Schneider and Beryl Korot in 1970, that had the merit
to combine, for the first time, political
considerations and use of the media (in that case
mainly video and television).
But, if the deep nature of these projects is
political, the initial target of the subversion they
put into effect is rarely so; and, even when it is,
the blow it receives is never direct, but it is the
ultimate consequence of an attack directed elsewhere,
similar to a bullet hitting the mark after being
diverted by a series of obstacles that are as many
primary targets. This is the case, for example, of
Bush Bot 0.4, of the ROVERBOTICS Group: which, after
insinuating doubts ? with the support of manipulated
images ? that George W. Bush may be a cyborg,
demolishes his politics, creating the software that
nourishes his totally artificial intelligence,
allowing people to talk to him and even dictate his
new speeches, through a simple chat system. No doubt
Bush is the target, but the blow is struck by drawing
on a by now classic story ? Simulacres by Philip K.
Dick ? and by parodying artificial intelligence
algorithms. In the same way, Mc Do
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