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.
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.
Re: Re: data diaries by the arcangel
sorry, gave an old url.
Takeos work is at:
http://www.takeo.org/nspace/ns00.htm
j. o
/^ rssgallery.com
][
Takeos work is at:
http://www.takeo.org/nspace/ns00.htm
j. o
/^ rssgallery.com
][
Re: Re: data diaries by the arcangel
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<div align="left"><font face="Arial"><span style="font-size:10pt">Hi </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">just a note to this, I actually really
like the concepts behind corys piece but what I find
frustrating with this kind of work is the finished 'product'  disappoints compared to the
'science' and ideas behind the work.. I have to disagree with Lewis that this is the 'point'
of conceptual work (or to follow this that idea that all conceptual artists outworking is
weak.) I do not see why if something is conceptual that can't be as strong in the
outworking of the concept or ...why outwork it? The fact the final product is weak is just
something that we (as viewers and artists) seemed to have started to accept as ok in
conceptual art...why?</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">If an artist is going to go to the
considerable time and trouble work out the mechanics of
of getting this to work - why not take a bit more time on what the piece </span></font><font face="Arial"><span
style="font-size:10pt"><i>actually looks like
</i></span></font><font face="Arial"><span style="font-size:10pt">and the aesthetics of the translation...?
Corys work, through a great (albeit already
'done') concept looks...so  (errr, search for a word) basic.  I'm not at all data/techno
minded but even I know  that the mechanics of this kind of work  (converting ram and or
other data sources into video) have been round for a very long time and have been
pushed to (what I think) are much more interesting, sharper and... well, more beautiful
results. It troubles me that it seems  techniques are called only new and revolutionary
just because the 'right' person has decided to use them.... </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Have a look at Michael Takeo Magruders
work (an american artist based in the UK) who
is working in a very similar way but with very different results. There is also a wonderful
tension going on within the work in the divide between old data [news] and new data
which he grabs breaks down and streams into his videos and installations. The majority
of his work is digital installations but his net pieces are both intriguing and aesthetically
a cut above. He is a artist with a science background and his theory and techniques are
a solid as you could wish for. Might be worth comparing....</span></font></div>
<div align="left"><font face="Arial" color="#008000"><span style="font-size:10pt"><u>http://www.takeo.org/nspace/transmission/</u></span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">j.</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><br/>
</div>
<div align="left"><br/>
</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>
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<div align="left"><font face="Arial"><span style="font-size:10pt">Hi </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">just a note to this, I actually really
like the concepts behind corys piece but what I find
frustrating with this kind of work is the finished 'product'  disappoints compared to the
'science' and ideas behind the work.. I have to disagree with Lewis that this is the 'point'
of conceptual work (or to follow this that idea that all conceptual artists outworking is
weak.) I do not see why if something is conceptual that can't be as strong in the
outworking of the concept or ...why outwork it? The fact the final product is weak is just
something that we (as viewers and artists) seemed to have started to accept as ok in
conceptual art...why?</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">If an artist is going to go to the
considerable time and trouble work out the mechanics of
of getting this to work - why not take a bit more time on what the piece </span></font><font face="Arial"><span
style="font-size:10pt"><i>actually looks like
</i></span></font><font face="Arial"><span style="font-size:10pt">and the aesthetics of the translation...?
Corys work, through a great (albeit already
'done') concept looks...so  (errr, search for a word) basic.  I'm not at all data/techno
minded but even I know  that the mechanics of this kind of work  (converting ram and or
other data sources into video) have been round for a very long time and have been
pushed to (what I think) are much more interesting, sharper and... well, more beautiful
results. It troubles me that it seems  techniques are called only new and revolutionary
just because the 'right' person has decided to use them.... </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Have a look at Michael Takeo Magruders
work (an american artist based in the UK) who
is working in a very similar way but with very different results. There is also a wonderful
tension going on within the work in the divide between old data [news] and new data
which he grabs breaks down and streams into his videos and installations. The majority
of his work is digital installations but his net pieces are both intriguing and aesthetically
a cut above. He is a artist with a science background and his theory and techniques are
a solid as you could wish for. Might be worth comparing....</span></font></div>
<div align="left"><font face="Arial" color="#008000"><span style="font-size:10pt"><u>http://www.takeo.org/nspace/transmission/</u></span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">j.</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><br/>
</div>
<div align="left"><br/>
</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>
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Re: trivial connections/stop the war/new work
oops - that should have been withOUT permission from Kate Bush....
(wishful thinking)
j.
http://www.rssgallery.com/trivialconnections/woman2.html
> Flash 6 and soundcard & speakers needed. 'womans work' covered by
> me with permission by Kate Bush (with apologies for my singing after 10
> years of too much tabacco:-)
> Appreciate comments from users with dial-up connection on the music
> streaming. It is too heavy really but I'm hoping I've got it streaming
> without too long a preload)
> cheers,
> jess.
>
> o
> /^ rssgallery.com
> ][
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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
][
(wishful thinking)
j.
http://www.rssgallery.com/trivialconnections/woman2.html
> Flash 6 and soundcard & speakers needed. 'womans work' covered by
> me with permission by Kate Bush (with apologies for my singing after 10
> years of too much tabacco:-)
> Appreciate comments from users with dial-up connection on the music
> streaming. It is too heavy really but I'm hoping I've got it streaming
> without too long a preload)
> cheers,
> jess.
>
> o
> /^ rssgallery.com
> ][
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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
][
trivial connections/stop the war/new work
Hi,
I been working on a new body of work for this year and this is the first.
The idea sprung up with my [trivial] connections between the domestic
and internet but it was so influenced by the stop the war debate and
everything going on it turned into something quite different....
Anyway,
http://www.rssgallery.com/trivialconnections/woman2.html
Flash 6 and soundcard & speakers needed. 'womans work' covered by
me with permission by Kate Bush (with apologies for my singing after 10
years of too much tabacco:-)
Appreciate comments from users with dial-up connection on the music
streaming. It is too heavy really but I'm hoping I've got it streaming
without too long a preload)
cheers,
jess.
o
/^ rssgallery.com
][
I been working on a new body of work for this year and this is the first.
The idea sprung up with my [trivial] connections between the domestic
and internet but it was so influenced by the stop the war debate and
everything going on it turned into something quite different....
Anyway,
http://www.rssgallery.com/trivialconnections/woman2.html
Flash 6 and soundcard & speakers needed. 'womans work' covered by
me with permission by Kate Bush (with apologies for my singing after 10
years of too much tabacco:-)
Appreciate comments from users with dial-up connection on the music
streaming. It is too heavy really but I'm hoping I've got it streaming
without too long a preload)
cheers,
jess.
o
/^ rssgallery.com
][
If you can do something better offline, do it offline
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<div align="left"><font face="Arial"><span style="font-size:10pt">thoughts.</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Starved of formal 'net' training as
I am, I'm currently lapping up curts
notes from his course </span></font></div>
<div align="left"><font face="Arial" color="#008000"><span style="font-size:10pt"><u>http://www.lab404.com/373/</u></span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Granted<b>,</b> I haven't got much
past the first page yet but that is because
the first page is has given me so much to well think about. It's not
particually that I haven't heard it before, but how concisely it offers
understanding. </span></font><font face="Arial"><span style="font-size:10pt">Anyway, XP has buggered
up my network and I'm
waiting for scandisk so if there is such a thing as 'thought in progress'
this is the start ...</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">"If you can do something better
offline, do it offline" or roughly
translated this evening as what the fuck am I doing this for? </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">I'm producing a new body of work for
the new year. a set of net work
(mostly in flash and or mixed with html basic scripts and lo-res video)
and a video triptych that I thought might work well as a installation
(offline). The theme of the new work is called 'trival connections' and I
am working through my ideas of the the absurdly compatible nature of
communication and routine on the net [+ wider into digital] with the
frustrations, triviality of domesticity. So, where does my work fit
contextually within curts 6 steps ( you need to understand here that
eryks 6 rules sit behind my left ear with a whisper like an aesthetically
pleasing catholic priest offering redemption and guilt in equal
proportions)? It's not just my own work. I've been trying to 'place' a
number of other artists who make up raw. I've tried - but they just creep
backs saying "actually..."</span></font></div>
<div align="left"><br/></div>
<p><font face="Arial"><span style="font-size:10pt">Why have I spilt my work into offline and online
this year? Partly
because of usability - it does work better offline. Video on the net
reminds me of drinking through a straw. You fill up, you stomachs full
but it doesn't actually touch your lips so no matter how mush you take
your mouth keep telling you it's been cheated. That's not to say net
video can't work at all but its so big and heavy most of still comes out
looking like the BBC's andy-pandy in the seventies. If you want it to look
like that that fine (although I always preferred 'rubarb') and if you are
lucky enough to have broadband and get the big stuff then double fine -
but for me, video always 'works' best on the net when mixed with
something else (multimedia, many-to-many?) and its the 'else' that
makes it work - and usually on a 56k modem. The main other reason for
taking it is offline is that I have a growing desire to start seeing people
reactions to the connections I'm trying to make. To observe the
communication that's going on between them and the works...</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">So given that why make the net work at all? Its {mostly]
in flash. Its low-
tech. Interactively it's going to piss off anyone who is waiting for
INTERACTION. There is absolutely nothing to do with surveillance, AI,
bots, multi-user-INTERACTION,  telepresence, transloacility (if using
the whitney definition) or any of the other words that currently trickle of
mirapauls honey tongue.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">The significance here is when I'm working with video
it's not the media
that's important. I'll have to make a decision at some point but right now
I don't care if the videos are shown on a tv sets, projected in a box, in a
small room in a large room, as a triptych together or as individual slices
- what is important to the work is that the 'viewer' sees within it some
echo (however abstracted) of their own ordinariness running in parall
with the noises and patterns of the image (in this case the silent
movements of my childrens heads & mouths syncopated with sampled
digital sounds). The medium is only part of the message. This changes
when the net work goes up (er,soon...), Suddenly, how, when and even
if it is delivered becomes integral to the work itself because (and this is
the </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">[box]</span></font><font
face="Arial"><span style="font-size:10pt"> that I can't find in curts texts) my suggestion is that net.art
essentially site specific. Within the internet the 'site' is  translocal, in
flux, multi-user or locational-independent but at the point of  delivery
(loadurl) the site (mainframe >> desktop >> laptop >> palmtop >> cell
phone >> pager >> ) influences and alters the artwork and where and
even when this happens disrupts and/or create immeasurable
influences on how the work is 'read' by the user. Add to this the other
basic interactivity (which is so often seen as net.arts unwanted dirty
sibling) </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt"> </span></font><font
face="Arial"><span style="font-size:10pt"> </span></font><font face="Arial"><span style="font-size:10pt">i.e.
emotional engagement by the user</span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">
[E.E] </span></font><font face="Arial"><span style="font-size:10pt">and suddenly
both curt and eryks category heading seem limited.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">Within this framework you can combine curts 'illogical
media'</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">eg multimedia + location-independent + site-specific
+ E.E + many-to-
many</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">"In the final analysis, the web is best understood
as an emerging
communications medium".  why is why I'm working offline & online,
communication on many levels.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">[thoughts in progress]</span></font></p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/></p>
<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>
</html>
<html>
<head>
<title></title>
</head>
<body>
<div align="left"><font face="Arial"><span style="font-size:10pt">thoughts.</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Starved of formal 'net' training as
I am, I'm currently lapping up curts
notes from his course </span></font></div>
<div align="left"><font face="Arial" color="#008000"><span style="font-size:10pt"><u>http://www.lab404.com/373/</u></span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Granted<b>,</b> I haven't got much
past the first page yet but that is because
the first page is has given me so much to well think about. It's not
particually that I haven't heard it before, but how concisely it offers
understanding. </span></font><font face="Arial"><span style="font-size:10pt">Anyway, XP has buggered
up my network and I'm
waiting for scandisk so if there is such a thing as 'thought in progress'
this is the start ...</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">"If you can do something better
offline, do it offline" or roughly
translated this evening as what the fuck am I doing this for? </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">I'm producing a new body of work for
the new year. a set of net work
(mostly in flash and or mixed with html basic scripts and lo-res video)
and a video triptych that I thought might work well as a installation
(offline). The theme of the new work is called 'trival connections' and I
am working through my ideas of the the absurdly compatible nature of
communication and routine on the net [+ wider into digital] with the
frustrations, triviality of domesticity. So, where does my work fit
contextually within curts 6 steps ( you need to understand here that
eryks 6 rules sit behind my left ear with a whisper like an aesthetically
pleasing catholic priest offering redemption and guilt in equal
proportions)? It's not just my own work. I've been trying to 'place' a
number of other artists who make up raw. I've tried - but they just creep
backs saying "actually..."</span></font></div>
<div align="left"><br/></div>
<p><font face="Arial"><span style="font-size:10pt">Why have I spilt my work into offline and online
this year? Partly
because of usability - it does work better offline. Video on the net
reminds me of drinking through a straw. You fill up, you stomachs full
but it doesn't actually touch your lips so no matter how mush you take
your mouth keep telling you it's been cheated. That's not to say net
video can't work at all but its so big and heavy most of still comes out
looking like the BBC's andy-pandy in the seventies. If you want it to look
like that that fine (although I always preferred 'rubarb') and if you are
lucky enough to have broadband and get the big stuff then double fine -
but for me, video always 'works' best on the net when mixed with
something else (multimedia, many-to-many?) and its the 'else' that
makes it work - and usually on a 56k modem. The main other reason for
taking it is offline is that I have a growing desire to start seeing people
reactions to the connections I'm trying to make. To observe the
communication that's going on between them and the works...</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">So given that why make the net work at all? Its {mostly]
in flash. Its low-
tech. Interactively it's going to piss off anyone who is waiting for
INTERACTION. There is absolutely nothing to do with surveillance, AI,
bots, multi-user-INTERACTION,  telepresence, transloacility (if using
the whitney definition) or any of the other words that currently trickle of
mirapauls honey tongue.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">The significance here is when I'm working with video
it's not the media
that's important. I'll have to make a decision at some point but right now
I don't care if the videos are shown on a tv sets, projected in a box, in a
small room in a large room, as a triptych together or as individual slices
- what is important to the work is that the 'viewer' sees within it some
echo (however abstracted) of their own ordinariness running in parall
with the noises and patterns of the image (in this case the silent
movements of my childrens heads & mouths syncopated with sampled
digital sounds). The medium is only part of the message. This changes
when the net work goes up (er,soon...), Suddenly, how, when and even
if it is delivered becomes integral to the work itself because (and this is
the </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">[box]</span></font><font
face="Arial"><span style="font-size:10pt"> that I can't find in curts texts) my suggestion is that net.art
essentially site specific. Within the internet the 'site' is  translocal, in
flux, multi-user or locational-independent but at the point of  delivery
(loadurl) the site (mainframe >> desktop >> laptop >> palmtop >> cell
phone >> pager >> ) influences and alters the artwork and where and
even when this happens disrupts and/or create immeasurable
influences on how the work is 'read' by the user. Add to this the other
basic interactivity (which is so often seen as net.arts unwanted dirty
sibling) </span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt"> </span></font><font
face="Arial"><span style="font-size:10pt"> </span></font><font face="Arial"><span style="font-size:10pt">i.e.
emotional engagement by the user</span></font><font face="Arial" color="#ff0000"><span style="font-size:10pt">
[E.E] </span></font><font face="Arial"><span style="font-size:10pt">and suddenly
both curt and eryks category heading seem limited.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">Within this framework you can combine curts 'illogical
media'</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">eg multimedia + location-independent + site-specific
+ E.E + many-to-
many</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">"In the final analysis, the web is best understood
as an emerging
communications medium".  why is why I'm working offline & online,
communication on many levels.</span></font></p>
<p><font face="Arial"><span style="font-size:10pt">[thoughts in progress]</span></font></p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/>
</p>
<p><br/></p>
<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>
</html>