Traditionally, programming is not known as a source of art. "Programming can be understood as a form of mark-making that encodes and guides processes of production". The aesthetic properties of a programmed system are imbued in the artworks created from them. Programs tend to be tied to the social structures that employ them. The introduction of the GNU for open source software separates it from the ENULA used by Microsoft. The GNU thus allows for a much wider range of contributors to the code. Programming can therefore be attributed as a social form of mark-making. Khatt (from the Arabs) can be translated as "calligraphy". We can attribute the Arabs with many concepts that are now present in modern computing. Arabs used techniques used in programming in their carpet weavings as well. The school of Bauhaus was the first school to be credited with teaching its students to program using punch-cards for the Jaquard programs. It is important to remember that programming is not solely linked to computers, but to a variety of artistic media. "The most significant shifts taking place in current 'new media' are not so much in the formal natures of the artifacts, or their aesthetic styles therefore, but the ways in which the practice is realized at a social level. Operational construct "warps" space and time and links multiple actors as if they were one. In the 1950s new technologies and ideologies were beginning to take shape. New forms of the computer-assisted observation and analysis took shape. "The operational construct is an assemblage of computer-assisted operations through which objects are analyzed, tracked and negotiated, in order to facilitate an arrangement of power". The operational construct is also meant to eliminate the intervals between all of those things so that one could have a greater window to act upon. The operational construct is shaped out of mediatization and has a self-contradicting existence. It mixes spectatorship, commerce and combat in one and delivers images of the system that they help maintain. The third article discusses how conceptual design allows us to challenge preconceptions of the products in our lives. That these objects, sometimes, mirror reality in a way that it makes them more real then the real. These designs also allow a window into a world that is not ours but eerily alike ours.
As discussed in the first article, "Programming as practice", programming, computers and Internet are not in a world apart of the real world. Digital world certainly has some specific characteristics, but we can see in those technologies the reflection of our world. Meaningful observations can be made on creative relations in the digital world (GPL/GNU), as some barriers of the real world do not apply and laws are difficult to maintain. Furthermore, the digital realm is more easily malleable, modifiable and repairable, thus evolving more quickly. Manzini's idea about designers is "less on interaction with discrete objects than on systems of objects", or "independent agents [who] use their imaginative skills to propagandize socially and politically desirable situations".
Since the mechanisms of Internet have inspired many on political issues, could we say that it is a social, global work of Art made by all of its users, simply because they use it the way it works right now(sharing, GNU/GPL, P2P)?
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