Jess Loseby
Since the beginning
Works in United States of America

ARTBASE (3)
BIO
Jess Loseby is a digital artist from the UK whose main medium is the internet. Her work ranges from small and intimate online installationsto large scale digital projections and video. In a relatively brief time, her work has become known internationally such as the ‘cyber-kitchen’ (lead artist and co-curator) and ‘the Digital Pocket’ (lead artist and co-curator), which is currently listed in the Whitney Artport. In August 2003, she became the first virtual artist in residence at Furtherfield.org (FurtherStudio) one of the first virtual artists residencies of its kind. She has exhibited in digital festivals such as the Split Film Festival, Pixxelpoint 2003, FILE 2003 and the Stuttgart Filmwinter. In 2003 she created interactive digital sets for the production of ‘The Dadaists’ at The Met Theater in Hollywood. Also in 2003 she was also awarded a grant from the Daniel Langlois Foundation, with the resulting work 'views from the ground floor...' being currently exhibited internationally.

Thematically, her projects continue her fascination with borderlands and ‘beautiful seams’ between the ubiquitous worlds of computing and the ‘real’ (domestic). A staunch opponent of new media's absorption with VR, her on and offline installations create flows and streams in the relational space of art and technology. Loseby’s unashamedly low-tech approach to new media build comparisons of the network and digitally (in its frustrations, attention to triviality and repetition) as absurdly compatible to the female domestic routine.

Jess Loseby has 3 children, 2 wheels, 1 husband and 0 days off.

Discussions (201) Opportunities (2) Events (1) Jobs (0)
DISCUSSION

Re: Computer Arts Fellowships


oh goody another great burrsary for artists working on the (global) net,
translocally and in several time zones to be tied down to one sodding
geographical location.
great.

> The New York Foundation for the Arts offers $7,000 Artists' Fellowships to New York State resident artists in the Computer Arts category. The category supports artists creating works for the internet and Web, interactive installations, hypertext, and other works rooted in computer technology.
Deadline is October 1; for eligibility and guidelines, go to www.nyfa.org/artists_fellowships/index.html
> + death sucks
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o
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DISCUSSION

Re: help! this is driving me nuts!!!


Calling all experienced flash users, tech-minded or generally nice
people.

http://www.rssgallery.com/inversion2002.htm
I've finished a piece that I have been working on for Michael's call
(below) which I'm completely stuck on, but seeing as its a 6 minute
dance/video/audio/choreography installation is soon became clear that
it was only going to run well on a ISDN or Broadband connection. I
don't have too much of a problem with this all long as it does run (albeit
with a long preload) on a 56k modem connection.
My problem being that 'run' is not the word for this on a dial-up
connection. 'Walk VERY slowly with at least two stops to get breath
back' is a more accurate description and that's with a 1 minute+
preload - which i wouldn't wait for.

Can anyone please help!!!!???
I think the problem is
a) the piece is based around 3 separate movie clips ( 2x animation 1 x
Video) each 100- 125k. These create 'spikes' in the loading which
forces the preload up and means you can never stream enough without
the music 'catching up' and stuttering.
b) fellow collaborator (who happens to be husband) will divorce me if I
compress his music to under 32kbps (although it still streams fine if it
wasn't for the 'spikes'). As the movement of the piece is 'choregraphed'
to the music I have to have that embeded in the movie, rather than
calling it in (which is what I usually do and works fine, even with huge
files) which makes the file size enormous.
c) have tried 3x compression tools which bugger up video and alpha

The thought of redoing the piece from scratch is driving me nuts.
Anyone any suggestions???
cheers,
jess.

> Remix/Remake/Remodel - a small net.art competition
> with modest prizes:
>
> http://www.somedancersandmusicians.com/re/index.html
>
> please feel free to forward ,repost &c.
>
> Michael.
>
o
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DISCUSSION

Re: Rhizome's Book Club


Later on, when everyone else had left; she said the work was great but she had cried
for me. I asked her why?
She said it was because no one will get to see the work because of my background and
lack of relevant breeding.
lack of relevant breeding? What was she a pedigree collie???

I have a friend who pleased her parents by doing an MA at Cambridge.
she said the only thing she learnt was how to use a fish knife.

I'm fighting my way through some text books but I'm very intolerant. I don't mind hard
work but if I have to get out the dictionary more than three times in one paragraph it
goes back on the shelf. I've just started reading Deleuze at the moment and my brain
aches.

j.

DISCUSSION

Re: Rhizome's Book Club


<body>
<div align="left"><br></div>
<div align="left"><br></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; Hi Jess,</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; </span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; About Zadie Smith
- Is it coincidence that Cambridge &amp; Oxford x-grads get a</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; lot media support?</span></font></div>
<div align="left"><br>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">of course!!!! hee!hee! </span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">But it is a fantastic first book,
even if she has had more opportunities
that most new writers. I don't think many writers are brave enough to
tackle generational narratives in the way this does. &nbsp;I'm also a sucker
for humour and I always read things through a great layer of self
experience. There is a a chapter which starts with samad at a PTA
meeting:</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">&quot;By a strange process of symmetry,
being a parent-governor perfectly
mirrors the process of becoming a parent. It starts innocently. Casually.
You turn up at the Spring Fair full of beans, help with the raffle tickets
(because the pretty red-haired music teacher asks you to) and win a
bottle of whisky (all school raffles are fixed), and, before you know
where you are, you're turning up at the weekly school council meetings,
organizing concerts, discussing plans for the new music department,
donating funds for the rejuvenation of the water-fountains - your
</span></font><font face="Arial"><span style="font-size:10pt"><i>implicated </i>in the school, you're<i>
involved </i>in it. Sooner or later you stop
dropping your child off at the school gates. You start following them
in...&quot;</span></font></div>
<div align="left"><br>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">wonderful. </span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">jess.</span></font></div>
<div align="left"><br></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> o</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">/^ rssgallery.com</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> ][</span></font></div>
</body>

DISCUSSION

Re: Rhizome's Book Club


jess's very unintellectual and domestic book list;

just finished:

blackberry wine by Joanne Harris
feel-good, ' laymans alchemy' for beginners.

to depress the hell out of you
'How the dead live" by Will Self
and I'm never reading another of his books again. Brilliant but wanted to
jump off bridge at the end (but v. v. scared to do so)

"White Teeth" by zadie smith
great (if week ending) Currently on Ch4 UK and I bloody missed it
yesterday.

have read more but haven't read a 'goodie' in ages.... gonna raid your
lists:-)
o
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