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: new subscription notes


<body>
<div align="left"><font face="Arial"><span style="font-size:10pt">hi, thanks for your emails. sorry
about the late reply but I have a life
outside my email software. I could reply to each post or we could just
skip the 41 emails where you decry my ignorance, sarcasm and
flippancy and i reject your bully-boy tactics, moan about you clogging
up my inbox with your trolling only to get a more emails in return.</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Instead, some Irish artists (whom
you might know) made this which I
feel I need to dedicate to you and all of us on the list who are stuck
here with you. I would like to hear what you have to say - I just wish
you'd use a fraction of the emails to do it and quit the aggression.</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">http://www.rssgallery.com/dedicated.htm</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">j.</span></font></div>
<div align="left"><br>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">btw i'll work on my flippancy if you
work on your humour...</span></font></div>
</body>

DISCUSSION

new subscription notes


please would alex consider amending the subscription page on the site
to include the following.

Rhizome Raw;
Before joining the following list please make sure you have either:

* a good mail filtering programme with an auto-delete function
* a herculean like finger to hit the delete key repeatedly
* and/or good insurance against repetitive strain injury from said
action
* an in-box the size of a small european country
* no interest in discussing net art at all because you won't get a word
in bloody edgeways.

i find myself longing for the 'art is dead' debate, it may have been
circular, irrelevant and annoying but at least it has some content....

oh do please drop it

j.

DISCUSSION

more throughts on the cyber-kitchen...


<body>
<p><font face="Arial"><span style="font-size:10pt">The 'one-man-one-machine' experience of surfing the
net questions the
locality of the home and domestic space. One may live in a small rural
village in a European country yet spend equal (if not more) virtual time
working, talking and creating in American-made cyber-territories. The
cyber-self has migrated but an artist's 'home' in this virtual landscape
have no walls and no 'objects' - only visions, people and the sounds of
the click of each button. There are no home comforts in this space. No
familiar mirror of the artist's home, family or possessions on the web. In
some, this condition seems to be producing translocal schizophrenia.
The artist is divided between two lives. The virtual and the terra-
existence. Many artists seem (both in their works and words) to be quite
literally home sick.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">When net.art is discussed eventually the idea of
the net 'community' or
'family' emerges: the 'rhizome community', the nettime community, the
Flash community, the Java community. If these communities (or
families) are truly active some indication of their physical presence must
be felt outside (perhaps) of the textual and visionary. A community that
thrives does more than talk and dream about its presence. A community
outworks it presence by claiming the physical space: house-building,
social interaction, playgrounds, schools and places of worship. In
cyber-space the playgrounds (artworks), social interaction (lists),
schools (educators) and the places of worship (virtual museums) have
long been established but these 'communities' are living in self-erected
tents. Bricks and mortar, belongings and the state of 'home' are absent
on the net. Scrolling down the inbox of the net.art chat forum can
produce comparisons of the camera on the BBC world service, panning
back to reveal the shanty towns of the asylum seekers - a community
isolated by the simultaneous absence of their locality and presence of
the alien soil.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">If a home, even a mirror of the terra-property were
to be built in
cyberspace would artists be brave enough to move in? In the cyber-
kitchen project (July 2002) an artist outworked this (perhaps
subconscious) dilemma by interpreting a dark corridor leading off from
the kitchen in a frenetic video image by internal camera of the journey
down the human throat. Suddenly the placement of the kitchen was in
question. One minute the visitor was sipping coffee in the sunshine the
next they were slipping down into the darkness. The locality became
illusion; the domestic peace became a construction. If the kitchen in the
cyber home becomes a potentially dangerous it begs the question what
artists might construct under the bed, in the closet or in the woodshed.
To expand on the pioneering metaphor (so often used when describing
the 'conquering' of the web), net.artist are familiar with the virtual
landscape, its quiet places, crowded streets and supermarkets, perhaps
the time has come start laying the foundations of the cyber-home...</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">...........................</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">the cyber-kitchen is an ongoing project and is still
accepting work
and/or proposals. Please see</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">http://www.the-cyber-kitchen.com/call_for_artists.htm</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">...........................</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">Call for coders/scripters: The cyber-kitchen would
like to build a 'kitchen
table' where the artists can meet and have a beer:-) On-line forums,
chat evenings and/or guestbooks have been suggested. I badly need
help scripting/coding this. If you would like to be involved in this project
in this way please contact jess loseby at:</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">jessloseby@the-cyber-kitchen.com&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;OR</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">jess@rssgallery.com</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">...........................</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">Artists in the cyber-kitchen include: (new work in
red)</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">Kate Armstrong, Nancy Bechtol, </span></font><font
face="Arial" color="#ff0000"><span style="font-size:10pt">Carla Della Beffa</span></font><font face="Arial"><span
style="font-size:10pt">, Amie Bolissian, Brad
Brace, Susan Burgess, Samantha Caine, </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">Ruth
Chandler</span></font><font face="Arial"><span style="font-size:10pt">, Geoffrey
Benjamin Chew, Damon Cleary, Nicolae Comanescu, Jo Cook, Lilian
Cooper, Agricola de Cologne, Caterina Davinio, dlsan, Anna Cecile
Gabali , Pierre Gauvin, Gez, Saraswati Gramich, </span></font><font face="Arial" color="#ff0000"><span
style="font-size:10pt">Jane Griffin</span></font><font face="Arial"><span style="font-size:10pt">, </span></font><font
face="Arial" color="#ff0000"><span style="font-size:10pt">Alana
Jelinek, Neil Jenkins, Rene' Joseph, Judson, Maya Kalogera,
Kanarinka, Dagmar Kase, Sarah Klein, Tamara Lai, Jess Loseby, Jorge
Margolles, Luiz, Joseph Franklyn McElroy &amp; Donna McElroy, Fin
McMorran, Mr.Milk, Simon Morse, Linda Munday, Owen Plotkin, Joan
Posluszny-Hoffsten, Roslyn Rose, </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">Tim
Sandys-Renton</span></font><font face="Arial"><span style="font-size:10pt">, Barbara
Santos, Ernesto Sarezale, Laurent Sauerwein, S'unya, Michael
Szpakowski, Pamela G. Taylor, Floe Tudor, Jeremy Turner, Mona
Vatamanu, Wes ,Cathy Ward &amp; Eric Wright, Saskia Wilson-Brown</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">...........................</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">the cyber-kitchen is a non-profit collaborative art
project.</span></font></p>
<p><br></p>
<div align="left"><br></div>
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<td valign="top" width 4>
<div align="left"><font face="Arial"><span style="font-size:10pt">-- o &nbsp;&nbsp;&nbsp;&nbsp;[ &nbsp;]<u>[
II &nbsp;][ II &nbsp;]</u>___</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">_ /^\_ /<b>88</b>|______|__ |_____</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> &nbsp;&nbsp;][ &nbsp;&nbsp;&nbsp;<u>|XX| &nbsp;&nbsp;</u></span></font><font face="Arial" size=1><span style="font-size:8pt"><u>o</u></span></font><font
face="Arial"><span style="font-size:10pt"><u>|</u></span></font><font face="Arial" size=1><span style="font-size:8pt"><u>o</u></span></font><font
face="Arial"><span style="font-size:10pt"><u> &nbsp;&nbsp;&nbsp;| </u><b><u>@ </u></b><u>|</u></span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;the
cyber-kitchen</span></font></div>
<div align="left"></div>
</td></tr>
</table>
<div align="left"></div>
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DISCUSSION

Re: Flash Explores New Angles


I think i'd better expand on my 'bloody brilliant comment...
what I liked about the piece was the ideas in the mixing the video, textual and still
elements and the possibility
(if you have the time and the know-how) of how this could be pushed further and
that this kind of smooth mixed-media delivery is possible even with a flash which
is not always as slick as it claims to be.
To be honest, the content washed over me. I didn't get the maggot/pro-choice stuff eryk
picked up on - too busy looking at the video/mx elements which it was given as an
example of. Odd for me as I am usually very strict on my content>tech rule. It did have a
pop-video feel but there was some narrative going on and a darkness that always
appeals to me. I thought on the whole the choice of imagery was effective (except the
last one with the 'floating baby' which I have to admit was a bit pants.)
The second link which eryk posted
was different. For a start i just can't be doing with all the pre-loads, drives me nuts. I
am quite strict in my dogma that preload should be under 45secs or worked 'into' the
artwork as a whole (like some of e8z work) Probably this is because I work all of 3 miles
outside of a city which means I won't get broadband until 3003 at the earliest. To get a
plug in to see a flash piece is free, to gain a faster connection is not. For me, that has
got to be a consideration in making work. Otherwise the piece still was pretty nice in its
use of tech but much more 'graphic-y' and less 'arty' than the other and the whole thing
just wasn't my thing.
However, I still say first piece is brilliant. (pre-load excluding) in terms of what can be
done with video, actionscript and enough time. Going back to t.whids comments about
why nobodies using video it does makes me think I'm just not pushing what could be
done with MX more... (although ironically I've just noticed t.whids latest email saying it's
crap).
oh well.
o
/^ rssgallery.com
][

DISCUSSION

Re: Flash Explores New Angles


sent to me as part of the flash debate. preload is a bit of a 'mare but the
work is just bloody brilliant. i'm packing my bags....
jess.

> mx
>
> http://www.iamstatic.com/randy/love_me
>
> randy Knott
>
> http://iamstatic.com
>
>
> ----- Original Message -----
> From: "Jess Loseby" <jess@rssgallery.com>
> To: "t.whid" <twhid@mteww.com>; <list@rhizome.org>
> Sent: Sunday, August 18, 2002 3:02 PM
> Subject: Re: RHIZOME_RAW: Flash Explores New Angles
>
>
> > Hi,
> > personally I think probably that part of the problem with the (under)
> > utilize of MX is sadly down to cost (ho hum). Flash in itself is just
> about
> > affordable to general artists but the three cameras, people to shoot the
> > film, editing equipment (virtual dub which I use is free and fab but just
> > not up to this) to create the kinds of bullet time/interactive video they
> > are talking about here is just too far out of your average net artists
> > reach - but just right for mr corporate design-a-web. Having said that
> > the time keeps getting shorter between what is affordable to the
> > industry and what is afforable for the individual is possible so I would
> > guess that more is round the corner. I have just begun to play with
> > video in MX (though not the interactive capabilities as yet).but still in
> the
> > 'ooh this is cool!' stage playing (eg making my daughter swim across an
> > page like some weird cyber fish hee! hee!). At the risk of starting a why
> > are net artists never paid debate, the double edged sword of the
> > equality of the net artist (ie anyone can be one regardless of age
> > background location etc) is perhaps that 'everyone' tends to be on
> > 'normal' or less (for their age, background, location etc) income and
> > can't afford all the gear. In this respect the net artist will always be
> > playing catch-up with the corporate boys....
> > jess.
> > > Flash Explores New Angles
> > > Macromedia's Flash MX allows users to do a number of cool tricks,
> > > including switching instantaneously between video clips.
> > new work: 'light from the machine'
> > http://www.rssgallery.com/lightfromthemachine.html o
> > /^ rssgallery.com
> > ][
> >
> >
> >
> > + sure it's barring in balls, n'est-ce pas ?
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> >
>

o
/^ rssgallery.com
][