Although the concept of algorithms has been established a long time ago, their current topicality indicates a shift in the discourse. Classical definitions based on logic seem to be inadequate to describe their aesthetic capabilities. New approaches stress their involvement in material practices as well as their incompleteness. Algorithmic aesthetics can no longer be tied to the static analysis of programs, but must take into account the dynamic and experimental nature of coding practices. It is suggested that the aesthetic objects thus produced articulate something that could be called algorithmicity or the space of algorithmic agency. This is the space or the medium – following Luhmann’s form/medium distinction – where human and machine undergo mutual incursions. In the resulting coupled “extimate” writing process, human initiative and algorithmic speculation cannot be clearly divided out any longer. An observation is attempted of defining aspects of such a medium by drawing a trajectory across a number of sound pieces. The operation of exchange between form and medium I call reconfiguration and it is indicated by this trajectory.

中文翻译：

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代理和算法

尽管算法的概念已经建立很久了，但是它们当前的话题性表明了话语的转变。基于逻辑的经典定义似乎不足以描述其美学能力。新方法强调了他们对物质实践的参与及其不完整。算法美学不再局限于程序的静态分析，而必须考虑编码实践的动态和实验性质。建议这样产生的美学对象表达可以被称为算法性或算法代理空间的事物。按照卢曼的形式/媒介的不同，这是人与机器相互侵入的空间或媒介。在最终的“极致”编写过程中，人的主动性和算法推测不再能清楚地分开。试图通过绘制跨越多个声音片段的轨迹来定义这种媒体的各个方面。形式与媒介之间的交换操作称为重新配置，并且由该轨迹表示。