The last 30 years have been the most active period of deliberate code generation and propagation in our history. A child of western modernism, code has surfaced as a collective epiphany in all disciplines. The computer revolution, scientific consequences of the DNA discovery and mapping of human genome, binarisation of the social and political structures of Western society (so very well described in Baudrillardâ€™s “Metaphysics of Code”) and finally the Greenbergian compulsion to disclose the limits of various artistic media stem from the same fundamental source: focusing the mind on how content is conveyed and structured. Content itself has faded to the background as mere “information”, the way an adjective still describes a noun without holding much importance.
Artists are driven to make sculptures of computer icons, write poems in object oriented programming language, show pixels of an image and numbers behind vector curves, paint the word “modernist” the way it would look in 14 points Helvetica on Windows 98.
Code Residue brings together works which demystify codes by forcing them into the physical realm.