Download Fun and Software: Exploring Pleasure, Paradox and Pain in by Olga Goriunova PDF

By Olga Goriunova

Fun and Software deals the untold tale of enjoyable as constitutive of the tradition and aesthetics of computing. enjoyable in computing is a method of pondering, making and experiencing. It invokes and convolutes the query of rationalism and logical cause, addresses the sensibilities and event of computation and attests to its artistic drives. by way of exploring issues as assorted because the excitement and ache of the programmer, geek wit, impacts of play and coding as a physically pursuit of the original in recursive buildings, Fun and Software is helping build a special element of access to the knowledge of software program as tradition. enjoyable is a kind of creation that touches at the foundations of formal common sense and designated notation in addition to rhetoric, displaying connections among computing and paradox, politics and aesthetics. From the formation of the self-discipline of programming as an outgrowth of natural arithmetic to its manifestation in modern and contradictory types resembling gaming, information research and artwork, enjoyable is a strong strength that maintains to form our existence with software program because it turns into the foremost mechanism of up to date society.

together with chapters from major students, programmers and artists, Fun and Software makes an immense contribution to the sphere of software program reports and opens the subject of software program to a few of the main urgent matters in modern theory.

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Extra resources for Fun and Software: Exploring Pleasure, Paradox and Pain in Computing

Example text

Reframing computation and the question of fun in software in terms of code or coding for coding’s sake shifts our attention. The particular abstracted theoretical terms of the dominant view tend to preclude any appreciation of the material specificities of practice or the technical details of structure and function (mere implementation details of mechanical-mathematical formulae). By contrast, considering the question of fun in software in terms of coding for coding’s sake brings the affective and the material back into the picture, linking technical structures with everyday practices.

A logical paradox such as that of the Cretan liar, who states ‘I am lying’, of course leaves us puzzling, and is not in and of itself destructive, but for Minsky it points towards the thin ice of ‘self-reference’ and the unproductive meandering of faulty reasoning. That such reasoning might, in his words, do us ‘some vaguely understood cognitive harm’ makes sense, but the leap from there to ‘ineffective or destructive thought processes’ (emphasis added) could be considered overkill, or as pointing towards the possibility that his text is addressing a broader problem than might at first seem to be the case.

By contrast, considering the question of fun in software in terms of coding for coding’s sake brings the affective and the material back into the picture, linking technical structures with everyday practices. The de facto, historical positioning of computing and software engineering as instrumental practices does not in and of itself ground what these practices might be, or might become, and reading coding as ultimately cognitive obscures forms of practice that can then only be articulated as a ‘black art’.

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