ap was originally founded in 1998 to examine the collision of systematics,or control, with improvised performance, primarily context of digital art and code.
Later work was pre-occupied with the notion of environmental code (code as an environment and environment as code) and speculative computer hardware (ap0201 devices installed in Mojave April 2004) has been produced to investigate these issues within harsh environments such as deserts. Contemporary work has witnessed a movement away from technological concerns, pursuing more questions of abstraction and notation involved in code and the act of programming or scripting prior to performance (software can be viewed as a performance of code).
Programming can readily be seen purely as the description of processes or actions.
It can be viewed as a new, self-referencing form of scripting with a potential for extreme abstraction.
ap crash paper performance will consist of self-enacting software exploring multiple post-turing crashings (implying levels of abstraction), simulation (many worlds), interface and operating system..

Erich Berger is a media artist working mostly in collaboration. His interactive and networked environments deal with telerobotics, mobility, generative realtime systems, group biofeedback and autopoiesis. He is exhibiting internationally and performing regularly with his impro duo PURE.BERGER or solo.
The performance TEMPEST is based on the surveillance technology known as “Van Eck Phreaking” - Computer screen content can be reconstructed remotely by picking up the emitted EM-field of the screen.
TEMPEST utilizes this technique to transform purely generative grafix into a tight and intense composition of noise which again is fed back into the image generating process.

The talk will focus on what in Quantum Physics is known as the measurement problem and will provide some experimental evidence that consciousness is standing outside of current physics.
Thus the philosophical direction called ‘dualism’ receives some experimental support.

i'm uploading my code to you -
i'm downloading your look on me -
i will infect your bioport -
with my code.

Yves Degoyon is a performer who once decided to create his own (software) toys just for the sake of not sounding like any other commercial sequencer's user. he still believes that if you 'free your code', the rest will follow. The sound is raw and industrial, once called 'industrial techno' by some croatian reporter. he's also an activist involved in indymedia and hackitectura.net and going to porto alegre tommorrow, to set up a free, independent, open source media lab there.

Lisa Jevbratt is an artist working primarily with data and Internet visualization. Her work is concerned with how systems and networks, artificial or natural, are expressing themselves, revealing their identity, through the trails and imprints of the individual agents engaged with them. She is an assistant professor at University of California Santa Barbara in the Media Art Technology Program and the Art Department.
presentation topic:
The act of coding is in effect an act of writing. It is a tempting comparison; it allows us to consider the poetic and literary qualities of code, however it is of little use for someone coding in the networked reality of today. Because of their specific history, we think of computer languages and code as symbolic abstractions of natural languages, and computers as universal machines manipulating these symbols. However, today every computer exists in relation to the Internet, whether it is connected or not.
Every software is potentially a networked software, a building block of the networks we live within and through. Because of this, code is no longer Text, a symbolic representation of reality - it is reality. The ontology of this reality, here termed “the Infome”, is to be found in and between environment and organism, To write code is to create and manipulate the Infome. Within it, artist-programmers are more land-artists than writers, software are more earthworks than narratives. The soil we move, displace and map is not the soil created by geological processes. It is made up of language, communication protocols and written agreements. The mapping and displacement of this soil has the potential of inheriting, revealing and questioning the political and economical assumptions that went in to its construction. Moreover, this environment/organism is a fundamentally new type of reality where our methods and theories regarding expression, signification, and meaning beg to be redefined. The intelligence of the Infome lies between its components and the metaphysical is no longer an all-knowing entity outside, dictating the system, but an emergence, an occurrence within.