Biography


Gundega Strautmane was born in 1978, Ogre, Latvia. She is a PhD candidate in New Media Art at Liepāja University, Liepāja, Latvia. Strautmane has studied industrial textile design at the Institute for Experimental Textile Design of the University of Art Berlin and the Riga Technical University. She has a bachelor's and a master's degree in Textile Art from the Art Academy of Latvia. She has been teaching for several years in academic and non-academic contexts. Her doctoral studies focus on text codifications, with a particular focus on new code and terminology creations. She has been a member of e-t+t electronics-text+textiles, Riga, Latvia, the Latvian artist union and the Latvian art scientist and curators association. Her artworks are in collections of the U.S. Embassy in Latvia, the Moscow Union of Artists, in Russia, and in various prisons and hospitals in Latvia (a 2-year project funded by the Culture Capital Foundation).

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What is codification art?

Codification art describes visual art practice in which the artist investigates and reinterprets the linguistic codes of written language.

What is New code

and what is Old

Code?

New Codes are, like all language codes, closed systems of semiotic elements. The texts which are formulated in these languages, or programs, are performative strings of signifiers that keep the alliance of mathematical theories and electromagnetic practices on course, they are the literature of information society. (L.Findeisen)

Leo Findeisen, australian media theorist in his Ars Electronica conference presentation de-scribed two types of codes Old Code and New Code. According to Findeisen New Codes are respon-sible for the intercommunication of technical interfaces where old codes are “natural languages” or “human languages” ment for different human communications (Findeisen 2003).

At the same time, the terms Old and New code among programming language developers can be used to describe some new versions of programming languages. In the field of human natural language the New code can be addressed to different artificial or planned languages.


Old Codes go back approximately 7000 years and are usually called “natural languages” or “human languages”. (L.Findeisen)

What are Sci-Fi or fictional alphabets? What are imaginary alphabets? What is Codification Art?

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Programming languages as well as Artist invented writings and Sci-Fi or fictional alphabets aredescribed in Artificial language classificator (Albani & Buonarroti 1995) where programming languages do belong to a artificial language family “with the aim of social communication”, but artist invented alphabets to the the subgroup of ”purely with the aim of self expression - artist literary languages - visual arts and imaginary alphabets”. Although the use of linguistic signs is common in contemporary art, rarely do authors invent their writing systems. Sci-Fi fictional alphabets are usually the inspiration for artists . There is a reference to works created by artists that have created their unique alphabets as well, including Allyson Gray (1953) and Ryan Gander (1976), one of the (very) few alphabet developers in the field of visual arts.

Imaginary writing systems emerged as a new field or genre of art, and there are no previous studies or terminology devoted to this field.

In her research Gundega Strautmane is Introducing a new term "Codification Art" Its relevance and applicability were studied using the following research methods: expert interviews and viewer surveys. The expert interviews gave positive results, and the necessity for a new term was confirmed in most of the cases. The experts are divided though when it comes to the question of how many and what practices should be included in the field.


J.R.R. Tolkien’s linguistic efforts fall under the category of fictional languages or conlangs.

Conlanging is both an art and a science, according to David J. Petersen, the linguist and conlanger for hire who constructed the Dothraki and Valyrian languages for HBO’s smash hit Game of Thrones. The invented words must be coherent and consistent. The fictional language must be supported by genuine linguistic complexity and grammatical structure behind it. For the words to be appropriate, you must also be familiar with the culture, history, and people who speak the language.

(L.A. Hunt)

The project "Codifications of musical codes" consists of 5 artworks: musical codes arrived to through coding practice of a G. Diapoulis and have been translated into imaginary alphabets by Gundega Strautmane.


Artworks are part of Strautmanes practice-led research in the field of new media art where she is intentionally experimenting with imaginary alphabets and new text art works to find new uses for imaginary writing.


The main undertaking of this project is to study imaginary writing in the field of visual arts, introduce new terminology, as well as, using the tools of imaginary writing, to work with art projects relevant to the field of new media.


Text - based programming languages as Javascript translations into imaginary alphabets or fictional alphabets are one of Strautmanes latest experiments. The project concept is not unique.


Keywords: musical live coding, imaginary writing, codification art, Dada, avant-garde, textual conceptualism, graphic design.

Biography

G. Diapoulis was born in 1981, Greece, Athens. He is a PhD student in Interaction Design at Chalmers University of Technology and University of Gothenburg, Gothenburg, Sweden. He has a bachelor's degree in Materials, Science and Technology from the University of Crete, Heraklion, Crete, and a master's degree in Music Psychology from the University of Jyväskylä, Jyväskylä, Finland. He is also a Marie-Curie alumnus from the European project on Building Acoustics, Acoutect. He has been teaching for several years in academic and non-academic contexts. His doctoral studies focus on musical live coding, with a particular focus on minimal languages and bodily gestures. He has performed with various bands for several years and sporadically performed as a live coder during the last decade. He is also a proud member of the TOPLAP Athens node! https://aucotsi.bandcamp.com/album/codifications-of-musical-code



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Projekts "Mūzikas koda kodifikācijas" ir Gundegas Strautmanes un Georgios Diapoulis praksē balstītu doktora studiju kopprojekts, kura ietvaros tapuši 5 mākslas darbi.


G.Strautmane sava izpētes darba ietvaros eksperimentē ar imaginārajām rakstībām, kuru izplatību aizsākuši fantāzijas literatūras rakstnieki, vēlāk filmu industrijas un visbeidzot arī datorspēļu izstrādātāji. Jau ievērojami mazāk, bet tomēr, viena autora izstrādāti, unikāli alfabēti ir sastopami gan grafiskā dizaina, gan vizuālās mākslas laukos, kuru terminoloģiju un vēsturi arī autore pēta.




gewhere.github.io/blog/




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g. strautmane

g. diapoulis


izstāde

Mūzikas koda kodifikācijas

RISEBA Arhitektūras un dizaina fakultāte

Cesvaines pils

Lūznavas muiža

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Projekts "Mūzikas koda kodifikācijas" ir Gundegas Strautmanes un G.Diapoulis praksē balstītu doktora studiju kopprojekts, kura ietvaros tapuši 5 mākslas darbi.Diapoulis praksē balstītu doktora studiju kopprojekts, kura ietvaros tapuši 5 mākslas darbi.


G.Strautmane sava izpētes darba ietvaros eksperimentē ar imaginārajām rakstībām, kuru izplatību aizsākuši fantāzijas literatūras rakstnieki, vēlāk filmu industrijas un visbeidzot arī datorspēļu izstrādātāji. Jau ievērojami mazāk, bet tomēr, viena autora izstrādāti, unikāli alfabēti ir sastopami gan grafiskā dizaina, gan vizuālās mākslas laukos, kuru terminoloģiju un vēsturi arī autore pēta. Samērā reta tendence ir programmēšanā bieži izmantotā latīņu alfabēta aizstāšana ar imaginārajām rakstībām. Viens no piemēriem būtu reāllaika mūzikas rakstīšanas vide StrudelREPL, kurā ir pieejami Galactico un ve-come-in-peace burtveidoli. Jāpiebilst, ka Gallactico ir pārsteidzoši līdzīgs Aurebesh fikciju alfabētam, kuru filmas "Zvaigžņu kari" cienītāji būs pamanījuši.

Savos iepriekšējos darba posmos Gundega ir eksperimentējusi ar imagināro rakstību integrēšanu pilsētvides plakātos un sienas murālī, savukārt šoreiz, aizstājot programmēšanas valodā izmantotās latīņu alfabēta rakstu zīmes ar imaginārās rakstības zīmēm. G.Diapoulis skaņdarbu radīšanai izmantojis reāllaika audio dzinēju un programmēšanas valodu SuperCollider. Projekta nākamie posmi ietver iespēju integrēt imagināros alfabētus kādā no programmēšanas platformu vidēm un citu vēl pagaidām neapgūtu imagināro alfabētu pielietojumu apzināšanu.


Izpētes gaitā, sadarbībā ar Valsts valodas centra lingvistiem un jomas ekspertiem, tiek piedāvāts jauns termins teksta mākslas laukā "Kodējummāksla''. Šis termins tiktu attiecināts uz tādiem darbiem, kurus autors būtu attīstījis balstoties uz paša izstrādātu rakstību.

Gundega Strautmane ir dzimusi 1978. gadā Ogrē. Latvijas Mākslas akadēmijā ieguvusi maģistra grādu vizuāli plastiskajās mākslās, studējusi Berlīnes Mākslas Universitātē eksperimentālo dizainu. Šobrīd ir doktora grāda kandidāte Liepājas Universitātes Jauno mediju nodaļā. Ar mākslas projektiem strādā kopš 2004.gada.


G. Diapaulis ir dzimis 1981.gadā, Atēnās, Grieķijā. Studējis materiālu zinātnes Krētas universitātē Grieķijā, mūzikas psiholoģiju Jyväskylä Universitātē Somijā un šobrīd ir doktora grāda kandidāts Čalmers Universitātē, Gēteborgā, Zviedrijā. Mūzikas kodēšanas jomā kopš 2010. gada, iekļauts dažādās jomas ekspertu biedrībās.

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a-kods

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Contact / Kontakti

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(371) 2591-9016

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gundegastrautmane@hotmail.com

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