ARTBASE (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
computerhistory.org
http://www.computerhistory.org is a terrific site that includes
well-designed timeline pages on such subjects as computers, software,
components, robots and AI, and companies. In the Exhibits section, there are
histories of the Internet and also of microprocessor evolution.
ja
http://vispo.com
well-designed timeline pages on such subjects as computers, software,
components, robots and AI, and companies. In the Exhibits section, there are
histories of the Internet and also of microprocessor evolution.
ja
http://vispo.com
Re: Stationary Flow: Process and Politics in Audio Art On the Air and Online
Great to see lots of the New American Radio series online!
The URL is http://somewhere.org , by the way, and the work online is
available at http://somewhere.org/NAR/catalog/full.htm
I worked in radio for six years in the eighties and learned a lot from the
New American Radio series. I'd been producing interviews of print writers
and producing their writing for radio. The NAR series showed me a deeper
approach to radio, approached it as a medium for its own art, not simply as
a 'place' to present/produce work from other media. I haven't been quite the
same since.
Helen Thorington, the executive producer of NAR, now does
http://turbulence.org , of course; and turbulence is as intrepid in net.art
as NAR was in radio/recorded sound.
The points you make about the politics of radio apply to the net also. It's
up to us to create a net of significance, utility, and beauty alternative to
propaganda and consumerism.
ja
http://vispo.com/vismu (interactive visual music)
http://vispo.com/audio (audio)
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf Of
claire barliant
Sent: Monday, August 18, 2003 9:48 AM
To: Rachel Greene
Subject: RHIZOME\_RAW: Stationary Flow: Process and Politics in Audio Art On
the Air and Online
Stationary Flow: Process and Politics in Audio Art On the Air and Online
Claire Barliant
Experimental sound art pieces commissioned by New American Radio, a weekly
radio program distributed to public radio stations from 1987-1998, became
available online this past spring. At some point, New Radio and Performing
Art, Inc., the organization responsible for this great resource, hopes to
make over 300 works by artists such as Pauline Oliveros, Christian Marclay,
and Terry Allen available through its site.
The expansion of the NAR website provides a good opportunity to examine
reasons why radio has held such fascination as a medium for many artists,
and how relocating to the Internet affects work designed specifically for
radio. Part of the appeal of art made for radio is in the tension created
when an experimental artist tries to subvert the medium
The URL is http://somewhere.org , by the way, and the work online is
available at http://somewhere.org/NAR/catalog/full.htm
I worked in radio for six years in the eighties and learned a lot from the
New American Radio series. I'd been producing interviews of print writers
and producing their writing for radio. The NAR series showed me a deeper
approach to radio, approached it as a medium for its own art, not simply as
a 'place' to present/produce work from other media. I haven't been quite the
same since.
Helen Thorington, the executive producer of NAR, now does
http://turbulence.org , of course; and turbulence is as intrepid in net.art
as NAR was in radio/recorded sound.
The points you make about the politics of radio apply to the net also. It's
up to us to create a net of significance, utility, and beauty alternative to
propaganda and consumerism.
ja
http://vispo.com/vismu (interactive visual music)
http://vispo.com/audio (audio)
-----Original Message-----
From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf Of
claire barliant
Sent: Monday, August 18, 2003 9:48 AM
To: Rachel Greene
Subject: RHIZOME\_RAW: Stationary Flow: Process and Politics in Audio Art On
the Air and Online
Stationary Flow: Process and Politics in Audio Art On the Air and Online
Claire Barliant
Experimental sound art pieces commissioned by New American Radio, a weekly
radio program distributed to public radio stations from 1987-1998, became
available online this past spring. At some point, New Radio and Performing
Art, Inc., the organization responsible for this great resource, hopes to
make over 300 works by artists such as Pauline Oliveros, Christian Marclay,
and Terry Allen available through its site.
The expansion of the NAR website provides a good opportunity to examine
reasons why radio has held such fascination as a medium for many artists,
and how relocating to the Internet affects work designed specifically for
radio. Part of the appeal of art made for radio is in the tension created
when an experimental artist tries to subvert the medium
Re: Re: August 14th 2003
> hi Jim,
>
> i think you're thinking of the blackout of '77?
There was talk on the news of a long one in 77 and a shorter one in 97 that
was associated with a lot of property damage and looting. If I'm not
mistaken, the 97 one that lasted 25 minutes was associated with $150 million
in damages. Or was that the 77 one?
> I'm not sure why there wasn't much looting this time. There was major
> police presence on the streets of Bkyln. There isn't as much crime in
> the city as there was in '77 overall. There is the effect of 9/11 too,
> I'm sure a lot of people were remembering 9/11 as they walked home
> through the city once again.
>
> I walked from 34th/8th ave home to Brooklyn over the Williamsburg
> Bridge. My feet were a little sore, but it wasn't so bad. People were
> pretty mellow. That night the streets had a crazy feeling to them.
> Pitch black night with the only light from auto headlights casting
> everything in these crazy angles. The Hungry Marching Band was marching
> through the streets of my neighborhood and people were sitting on the
> sidewalks outside of the bars drinking beer. It was a festive mood
> really. Hot as hell to sleep tho.
I imagine there were more than a few intense dramas and severe difficulties,
like Liza's with a sick child.
But it sounds like there was also considerable festivity and a sense of the
people of the city, not solely its imposing structures. New York unplugged
and by candlelight on a hot summer night. There'll be lots of good ink
spilled as a result of this one.
And so fine that it was without mass mayhem. Pretty classy.
> But I'm very angry about it. Some heads should roll, this sort of
> blackout is completely unacceptable. What idiots designed this system?
> Who was testing it? Total bullshit!
Yes, quite the screw up. Too many Windows machines, maybe.
ja
>
> i think you're thinking of the blackout of '77?
There was talk on the news of a long one in 77 and a shorter one in 97 that
was associated with a lot of property damage and looting. If I'm not
mistaken, the 97 one that lasted 25 minutes was associated with $150 million
in damages. Or was that the 77 one?
> I'm not sure why there wasn't much looting this time. There was major
> police presence on the streets of Bkyln. There isn't as much crime in
> the city as there was in '77 overall. There is the effect of 9/11 too,
> I'm sure a lot of people were remembering 9/11 as they walked home
> through the city once again.
>
> I walked from 34th/8th ave home to Brooklyn over the Williamsburg
> Bridge. My feet were a little sore, but it wasn't so bad. People were
> pretty mellow. That night the streets had a crazy feeling to them.
> Pitch black night with the only light from auto headlights casting
> everything in these crazy angles. The Hungry Marching Band was marching
> through the streets of my neighborhood and people were sitting on the
> sidewalks outside of the bars drinking beer. It was a festive mood
> really. Hot as hell to sleep tho.
I imagine there were more than a few intense dramas and severe difficulties,
like Liza's with a sick child.
But it sounds like there was also considerable festivity and a sense of the
people of the city, not solely its imposing structures. New York unplugged
and by candlelight on a hot summer night. There'll be lots of good ink
spilled as a result of this one.
And so fine that it was without mass mayhem. Pretty classy.
> But I'm very angry about it. Some heads should roll, this sort of
> blackout is completely unacceptable. What idiots designed this system?
> Who was testing it? Total bullshit!
Yes, quite the screw up. Too many Windows machines, maybe.
ja
Re: August 14th 2003
> > http://salsabomb.com/nyc/
> >
> >
> > Hope you all enjoyed the view while you could.
> >
> > -e.
ha. i right clicked to view source and found i'd clicked on a picture. but
right clicking a bit to the edge did reveal the source. wonder whether the
source/cause of the view will so easily be found.
nice touch with the graphic!
ja
> >
> >
> > Hope you all enjoyed the view while you could.
> >
> > -e.
ha. i right clicked to view source and found i'd clicked on a picture. but
right clicking a bit to the edge did reveal the source. wonder whether the
source/cause of the view will so easily be found.
nice touch with the graphic!
ja
Re: look at the way TV looks at a monitor
> Tv 'containing' the computer. I meant 'contain' descripively rather than
> as an verb for the mediums. I also meant this after 'things' have
> somewhat settled between the computer/internet and other mediums, which
> has not happened yet, as in the case of film and tv. This is exactly why
> your initial observation struck a chord, that the people doing stuff on
> flash/director are getting to be like a clergy with a superior
> ontological-epitemological claim, that is implied in the narratives.
Clergy? Implied in what? I don't get it.
TV grants the computer status as a scientific instrument. But the computer
and its monitor as interesting artistic medium, as far as TV is concerned,
is not really in the cards, yet; as you point out, maybe TV will end up on
the monitor or the two will otherwise meet in various ways. The TV screen
doesn't have the sort of resolution to handle much text that isn't fairly
big, however, for instance, at the moment. I checked out web TV once. Yikes.
Not real good.
There's a program in Canada called Zed (www.zed.cbc.ca) (how about
'aboot'?). They get submissions from people online and play some of them on
TV. But it seems mostly what they're after is video and music. More of the
same. They're not interested in digital art; they're interested in typical
TV material. Though there's a lot of interesting digital art made specially
for the Web that departs in strong ways from the look of typical TV, but you
don't see that on the show. The way TV looks at a TV screen is pretty
ingrained.
The people doing the Director/Flash/whatever stuff that you occassionally
see when TV characters look at a monitor during a show is usually not
represented as art, but as other things. Even to see it as art is to be in a
kind of secret dialog with the people who made the Director/Flash stuff, not
the TV producers. The Director/Flash folks are doing as much on the sly as
they can, sometimes, it seems. The shots are quick, momentary looks.
> I
> do hope this role eventually expands, for instance, if tv and its shows
> become more interactive. Hence my concern for the potential and 'signs'
> for art media.
>
> >> But how would you relate to virtuality? as assembled imagination?
> >Not sure what you mean?
>
> I've touched on this in my reference to 'interactivity' in existing or
> future media. I was asking about implications for constructed
> environments/realities.
>
> I am of course speculating based on thoughts lying somewhere at the back
> of my head.
>
> Best wishes
>
> >y
What are your thoughts on this?
ja
> as an verb for the mediums. I also meant this after 'things' have
> somewhat settled between the computer/internet and other mediums, which
> has not happened yet, as in the case of film and tv. This is exactly why
> your initial observation struck a chord, that the people doing stuff on
> flash/director are getting to be like a clergy with a superior
> ontological-epitemological claim, that is implied in the narratives.
Clergy? Implied in what? I don't get it.
TV grants the computer status as a scientific instrument. But the computer
and its monitor as interesting artistic medium, as far as TV is concerned,
is not really in the cards, yet; as you point out, maybe TV will end up on
the monitor or the two will otherwise meet in various ways. The TV screen
doesn't have the sort of resolution to handle much text that isn't fairly
big, however, for instance, at the moment. I checked out web TV once. Yikes.
Not real good.
There's a program in Canada called Zed (www.zed.cbc.ca) (how about
'aboot'?). They get submissions from people online and play some of them on
TV. But it seems mostly what they're after is video and music. More of the
same. They're not interested in digital art; they're interested in typical
TV material. Though there's a lot of interesting digital art made specially
for the Web that departs in strong ways from the look of typical TV, but you
don't see that on the show. The way TV looks at a TV screen is pretty
ingrained.
The people doing the Director/Flash/whatever stuff that you occassionally
see when TV characters look at a monitor during a show is usually not
represented as art, but as other things. Even to see it as art is to be in a
kind of secret dialog with the people who made the Director/Flash stuff, not
the TV producers. The Director/Flash folks are doing as much on the sly as
they can, sometimes, it seems. The shots are quick, momentary looks.
> I
> do hope this role eventually expands, for instance, if tv and its shows
> become more interactive. Hence my concern for the potential and 'signs'
> for art media.
>
> >> But how would you relate to virtuality? as assembled imagination?
> >Not sure what you mean?
>
> I've touched on this in my reference to 'interactivity' in existing or
> future media. I was asking about implications for constructed
> environments/realities.
>
> I am of course speculating based on thoughts lying somewhere at the back
> of my head.
>
> Best wishes
>
> >y
What are your thoughts on this?
ja