This collection of short expository, critical and speculative texts offers a field guide to the cultural, political, social and aesthetic impact of software. Experts from a range of disciplines each take a key topic in software and the understanding of software, such as algorithms and logical structures.

An argument that we must read code for more than what it does—we must consider what it means. Computer source code has become part of popular discourse. Code is read not only by programmers but by lawyers, artists, pundits, reporters, political activists, and literary scholars; it is used in political debate, works of art, popular entertainment, and historical accounts. In this book, Mark Marino argues that code means more than merely what it does; we must also consider what it means. We need to learn to read code critically. Marino presents a series of case studies—ranging from the Climategate scandal to a hactivist art project on the US-Mexico border—as lessons in critical code reading. Marino shows how, in the process of its circulation, the meaning of code changes beyond its functional role to include connotations and implications, opening it up to interpretation and inference—and misinterpretation and reappropriation. The Climategate controversy, for example, stemmed from a misreading of a bit of placeholder code as a “smoking gun” that supposedly proved fabrication of climate data. A poetry generator created by Nick Montfort was remixed and reimagined by other poets, and subject to literary interpretation. Each case study begins by presenting a small and self-contained passage of code—by coders as disparate as programming pioneer Grace Hopper and philosopher Friedrich Kittler—and an accessible explanation of its context and functioning. Marino then explores its extra-functional significance, demonstrating a variety of interpretive approaches.

An alternative history of software that places the liberal arts at the very center of software's evolution. In The Software Arts, Warren Sack offers an alternative history of computing that places the arts at the very center of software's evolution. Tracing the origins of software to eighteenth-century French encyclopedists' step-by-step descriptions of how things were made in the workshops of artists and artisans, Sack shows that programming languages are the offspring of an effort to describe the mechanical arts in the language of the liberal arts. Sack offers a reading of the texts of computing—code, algorithms, and technical papers—that emphasizes continuity between prose and programs. He translates concepts and categories from the liberal and mechanical arts—including logic, rhetoric, grammar, learning, algorithm, language, and simulation—into terms of computer science and then considers their further translation into popular culture, where they circulate as forms of digital life. He considers, among other topics, the “arithmetization” of knowledge that presaged digitization; today's multitude of logics; the history of demonstration, from deduction to newer forms of persuasion; and the post-Chomsky absence of meaning in grammar. With The Software Arts, Sack invites artists and humanists to see how their ideas are at the root of software and invites computer scientists to envision themselves as artists and humanists.

A comprehensive, practical book on software management that dispels real-world issues through relevant case studies Software managers inevitably will meet obstacles while trying to deliver quality products and provide value to customers, often with tight time restrictions. The result: Software War Stories. This book provides readers with practical advice on how to handle the many issues that can arise as a software project unfolds. It utilizes case studies that focus on what can be done to establish and meet reasonable expectations as they occur in government, industrial, and academic settings. The book also offers important discussions on both traditional and agile methods as well as lean development concepts. Software War Stories: Covers the basics of management as applied to situations ranging from agile projects to large IT projects with infrastructure problems Includes coverage of topics ranging from planning, estimating, and organizing to risk and opportunity management Uses twelve case studies to communicate lessons learned by the author in practice Offers end-of-chapter exercises, sample solutions, and a blog for providing updates and answers to readers' questions Software War Stories: Case Studies in Software Management mentors practitioners, software engineers, students and more, providing relevant situational examples encountered when managing software projects and organizations.

The authors examine software from a spatial perspective, analyzing the dyadic relationship of software & space. The production of space, they argue, is increasingly dependent on code, & code is written to produce space.

Like other sciences and engineering disciplines, software engineering requires a cycle of model building, experimentation, and learning. Experiments are valuable tools for all software engineers who are involved in evaluating and choosing between different methods, techniques, languages and tools. The purpose of Experimentation in Software Engineering is to introduce students, teachers, researchers, and practitioners to empirical studies in software engineering, using controlled experiments. The introduction to experimentation is provided through a process perspective, and the focus is on the steps that we have to go through to perform an experiment. The book is divided into three parts. The first part provides a background of theories and methods used in experimentation. Part II then devotes one chapter to each of the five experiment steps: scoping, planning, execution, analysis, and result presentation. Part III completes the presentation with two examples. Assignments and statistical material are provided in appendixes. Overall the book provides indispensable information regarding empirical studies in particular for experiments, but also for case studies, systematic literature reviews, and surveys. It is a revision of the authors’ book, which was published in 2000. In addition, substantial new material, e.g. concerning systematic literature reviews and case study research, is introduced. The book is self-contained and it is suitable as a course book in undergraduate or graduate studies where the need for empirical studies in software engineering is stressed. Exercises and assignments are included to combine the more theoretical material with practical aspects. Researchers will also benefit from the book, learning more about how to conduct empirical studies, and likewise practitioners may use it as a “cookbook” when evaluating new methods or techniques before implementing them in their organization.

The mobile app as technique and imaginary tool, offering a shortcut to instantaneous connection and entertainment. Mobile apps promise to deliver (h)appiness to our devices at the touch of a finger or two. Apps offer gratifyingly immediate access to connection and entertainment. The array of apps downloadable from the app store may come from the cloud, but they attach themselves firmly to our individual movement from location to location on earth. In The Imaginary App, writers, theorists, and artists—including Stephen Wolfram (in conversation with Paul Miller) and Lev Manovich—explore the cultural and technological shifts that have accompanied the emergence of the mobile app. These contributors and interviewees see apps variously as “a machine of transcendence,” “a hulking wound in our nervous system,” or “a promise of new possibilities.” They ask whether the app is an object or a relation, and if it could be a “metamedium” that supersedes all other artistic media. They consider the control and power exercised by software architecture; the app's prosthetic ability to enhance certain human capacities, in reality or in imagination; the app economy, and the divergent possibilities it offers of making a living or making a fortune; and the app as medium and remediator of reality. Also included (and documented in color) are selected projects by artists asked to design truly imaginary apps, “icons of the impossible.” These include a female sexual arousal graph using Doppler images; “The Ultimate App,” which accepts a payment and then closes, without providing information or functionality; and “iLuck,” which uses GPS technology and four-leaf-clover icons to mark places where luck might be found. Contributors Christian Ulrik Andersen, Thierry Bardini, Nandita Biswas Mellamphy, Benjamin H. Bratton, Drew S. Burk, Patricia Ticineto Clough, Robbie Cormier, Dock Currie, Dal Yong Jin, Nick Dyer-Witheford, Ryan and Hays Holladay, Atle Mikkola Kjøsen, Eric Kluitenberg, Lev Manovich, Vincent Manzerolle, Svitlana Matviyenko, Dan Mellamphy, Paul D. Miller aka DJ Spooky That Subliminal Kid, Steven Millward, Anna Munster, Søren Bro Pold, Chris Richards, Scott Snibbe, Nick Srnicek, Stephen Wolfram