AAC: Software Conference (SIGCIS) at the Computer History Museum

The Computer History Museum in Mountain View, CA. Dzou, 2005 CC BY-SA 3.0

The Computer History Museum in Mountain View, CA.
Dzou, 2005
CC BY-SA 3.0

The Computer History Museum is hosting and co-organizing a special conference of SIGCIS the weekend of March 17-18; this group has become a major forum in the US for historians of computing. In that same week we will also host several private meetings (ACM history committee, IEEE editorial board, etc.), so a lot of key folks in the field will be around and also attend some or all SIGCIS events.

The conference welcomes papers around Web, net, and online history
The deadline is December 30, 2016.

Décoder des codes

Séminaire annuel du Carism 2016-2017, en partenariat avec l’ISCC, organisé par Cécile Méadel, Francesca Musiani et Guillaume Sire

seminaire-carism-2016-17-argumentaire

La première séance aura lieu le mardi 6 décembre 2016 en salle 315, de 17h à 19h et accueillera Laurent Bloch, chercheur en cyberstratégie, membre de l’Institut de l’économie.

Lieu : Université Panthéon-Assas / 92 rue d’Assas, 75 006 Paris – Salle 315 – 3e étage.
Métros Vavin et Notre-Dame-des-champs.
RER Luxembourg (sortie Auguste Comte).

L’accès aux séances du séminaire est ouvert à tous et gratuit sous condition d’inscription en avisant l’adresse carism@u-paris2.fr

Updating to remain the same

9780262034494_0Le nouveau livre de Wendy Hui Kyong Chun, après Control and Freedom: Power and Paranoia in the Age of Fiber Optics et Programmed Visions: Software and Memory, également parus au MIT Press.

Overview:

New media—we are told—exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same. Meanwhile, analytic, creative, and commercial efforts focus exclusively on the next big thing: figuring out what will spread and who will spread it the fastest. But what do we miss in this constant push to the future? In Updating to Remain the Same, Wendy Hui Kyong Chun suggests another approach, arguing that our media matter most when they seem not to matter at all—when they have moved from “new” to habitual. Smart phones, for example, no longer amaze, but they increasingly structure and monitor our lives. Through habits, Chun says, new media become embedded in our lives—indeed, we become our machines: we stream, update, capture, upload, link, save, trash, and troll.

Chun links habits to the rise of networks as the defining concept of our era. Networks have been central to the emergence of neoliberalism, replacing “society” with groupings of individuals and connectable “YOUS.” (For isn’t “new media” actually “NYOU media”?) Habit is central to the inversion of privacy and publicity that drives neoliberalism and networks. Why do we view our networked devices as “personal” when they are so chatty and promiscuous? What would happen, Chun asks, if, rather than pushing for privacy that is no privacy, we demanded public rights—the right to be exposed, to take risks and to be in public and not be attacked?

Exploratory Programming for the Arts and Humanities

9780262034203
This book introduces programming to readers with a background in the arts and humanities; there are no prerequisites, and no knowledge of computation is assumed. In it, Nick Montfort reveals programming to be not merely a technical exercise within given constraints but a tool for sketching, brainstorming, and inquiring about important topics. He emphasizes programming’s exploratory potential—its facility to create new kinds of artworks and to probe data for new ideas.

Nick Montfort is Associate Professor of Digital Media at MIT. He is the coauthor of 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 and Racing the Beam: The Atari Video Computer System, the coeditor of The New Media Reader, and the author of Twisty Little Passages: An Approach to Interactive Fiction, all published by the MIT Press.

Nick Montfort, Exploratory Programming for the Arts and Humanities, The MIT Press, Avril 2016.

 

Jake Feinler (SRI)

Voir notamment le témoignage de Jake Feinler – recueilli par Marc Weber (p. 52), qui oeuvra au SRI avec Engelbart au développement d’Arpanet et d’Internet (notamment du Whois).

Sur Jake Feinler voir également

ELIZABETH JOCELYN FEINLER: An Interview Conducted by Janet Abbate for the IEEE History Center, 8 July 2002. Interview # 597 for the IEEE History Center, The Institute of Electrical and Electronics Engineers, Inc.

In this interview, Feinler describes her work with FORTRAN, her initial interest in Chemistry, and her work at SRI. At SRI, she was involved in several projects including developing an Resource Handbook. She describes in great detail her time and her involvement in these projects at SRI and the transition of the Internet from military use to commercial use. She highlights the ongoing learning process involved in working with computers and programming. Feinler also described her time at NASA at the Ames Research Center after leaving her long career at SRI.

Nous signalons également le billet sur le blog du national Air and Space Museum dédié à Margaret Hamilton.

Séminaire Codes sources

L’objectif du séminaire Codes sources est de présenter la pensée informatique là où elle s’exprime le plus concrètement : dans les textes
que sont les codes sources.

 

Portrait de E. Dijkstra Source manuscripts of Edsger W. Dijkstra, University Texas at Austin Author Hamilton Richards CC BY-SA 3.0

Portrait de E. Dijkstra
Source manuscripts of Edsger W. Dijkstra, University Texas at Austin
Author Hamilton Richards
CC BY-SA 3.0

Séance du mercredi 23 mars 2016 (14h-15h30) :

Yann Régis-Gianas (PPS, IRIF, Université Paris-Diderot, Pi.R2, INRIA) : « CallCC, un coup d’état sur le contrôle »

Lorsque Dijkstra publie son article « Go To Statement Considered  Harmful », une fronde de programmeurs – dont Knuth – s’est élevée contre les restrictions d’expressivité proposées par l’informaticien néerlandais : en effet, la structuration du flot de contrôle par les seules procédures et boucles while interdisait certains idiomes de programmation fort utiles et répandus.

Cependant, les motivations de Dijkstra étaient légitimes : puisque  l’on ne peut pas prédire les prédécesseurs d’un point de contrôle en présence du « goto », on ne peut pas raisonner localement sur les instructions d’un programme et cela interdit toute ambition de passage à l’échelle de la preuve de programme.

Seulement, l’expressivité du « goto » peut être retrouvée à l’aide d’opérateurs de contrôle inventés par Peter Landin plusieurs années auparavant : en présence de ces opérateurs, les points de contrôle deviennent des objets de première classe appelés continuations. En
tant qu’objet du calcul, les points de contrôle du programme sont alors l’affaire du programmeur. Grâce à l’abstraction de type, il peut alors choisir de légiférer comme bon lui semble pour spécifier leur bon usage.

Lieu : Salle 24-25/405 du LIP6 (rotonde 24 ou 25, 4e étage)
4 place Jussieu, 75005 Paris
métro Jussieu (lignes 7 et 10)

Prochaines séances du séminaire Codes sources
Lire la suite

Because of the pixels …

My own rage comic, about a dog, Wout 159 CC BY SA 3.0

My own rage comic, about a dog, Wout 159
CC BY SA 3.0

Découvrir ou redécouvrir l’article

Davison P., Because of the Pixels: On the History, Form and Influence of MS Paint, Journal of Visual Culture, Journal of Visual Culture, December 2014, vol. 13, no. 3, pp. 275-297. 

Abstract

This article focuses on the history, formal properties, and cultural role played by MS Paint, a widely available graphics program that has been used to make countless internet memes. The author examines the technical limitations of the program, and the visible consequences produced by a mouse-driven bitmap-based graphics program. He uses MS Paint as a context to discuss two new pieces of graphics software – Fresh Paint and Rage Maker – each of which embody radically different orientations to the concept of remediation. These three approaches to understanding MS Paint help us to reconsider the culturally suppressed media that have nonetheless had significant effects on the visual culture of the contemporary participatory internet.