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Software
With the inclusion of home computers in installations and videos, software became an integral part of the artwork. In early video art, aesthetic components played a crucial role, often relying on licensed software. However, spatial and temporal installations, as well as emerging generative and process-oriented art, required custom solutions. This shift demanded holistic creativity, integrating aesthetic, social, critical, and technical expertise within a single creator.
The exhibition “Kunstlabor,” presented 1992 at Freihaus Wien and Stadtwerkstatt Linz, explored this theme. Software was recognized as a vital component of new artworks. To emphasize its artistic value, some programs were burned onto EEPROMs and exhibited as standalone art pieces. This approach was notably applied to the software for the performance Voices from the Inner Space at Ars Electronica 1988, conceived as a counterpart to Ada Lovelace and Mary Shelley.
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