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.
Re: Launch of Catalogue: Spring 2003: Nothingness
This is one of the best realized HTML/DHTML pieces I've encountered that focusses on writing,
Kate, and is not ignorant of design or programming. And the use of image, email, and javascript
focusses the piece on writing also.
What seems to happen too often in hypertextual work is that the writing itself is weak. Or the
design defocusses the writing. Or debases it. Or the design is slick but irrelevant to the
meaning of the writing. Or the design is simple-minded. Very rarely is the writing good while
the design and programming complement the work.
I used to take the subway in Toronto from Pape to Yonge and Queen, and would exit through Eatons
Centre, lots of stores. Have been sitting here musing about a Nothingness 'store'. Um, maybe
further down Queen street.
ja
> I'm pleased to announce the launch of my new project CATALOGUE: Spring 2003:
> Nothingness at http://www.surreytechlab.ca/catalogue/website/index.html.
>
>
> CATALOGUE: Spring 2003: Nothingness is a net.art work that uses description, image,
> email and javascript to interrogate some of the cultural and mechanical forms that
> operate in online shopping. The work is designed to exist on a parallel plane with
> commercial shopping sites and to offer a menu of small interventions that extend
> outward into the world. The theme of nothingness was chosen for the Spring catalogue
> in order to defamiliarize common structures found in online shops by substituting
> imaginary objects, states of being, and existential drama for regular items and
> marketing strategies.
>
>
> Spring 2003: Nothingness was realized during the Techlab digital media
> artist-in-residence program at the Surrey Art Gallery http://surreytechlab.ca
>
> Next in the series will be the Fall Catalogue, which is being funded through a New
> Media production grant from the Canada Council for the Arts http://canadacouncil.ca
>
> Kate Armstrong
> http://katearmstrong.com
Kate, and is not ignorant of design or programming. And the use of image, email, and javascript
focusses the piece on writing also.
What seems to happen too often in hypertextual work is that the writing itself is weak. Or the
design defocusses the writing. Or debases it. Or the design is slick but irrelevant to the
meaning of the writing. Or the design is simple-minded. Very rarely is the writing good while
the design and programming complement the work.
I used to take the subway in Toronto from Pape to Yonge and Queen, and would exit through Eatons
Centre, lots of stores. Have been sitting here musing about a Nothingness 'store'. Um, maybe
further down Queen street.
ja
> I'm pleased to announce the launch of my new project CATALOGUE: Spring 2003:
> Nothingness at http://www.surreytechlab.ca/catalogue/website/index.html.
>
>
> CATALOGUE: Spring 2003: Nothingness is a net.art work that uses description, image,
> email and javascript to interrogate some of the cultural and mechanical forms that
> operate in online shopping. The work is designed to exist on a parallel plane with
> commercial shopping sites and to offer a menu of small interventions that extend
> outward into the world. The theme of nothingness was chosen for the Spring catalogue
> in order to defamiliarize common structures found in online shops by substituting
> imaginary objects, states of being, and existential drama for regular items and
> marketing strategies.
>
>
> Spring 2003: Nothingness was realized during the Techlab digital media
> artist-in-residence program at the Surrey Art Gallery http://surreytechlab.ca
>
> Next in the series will be the Fall Catalogue, which is being funded through a New
> Media production grant from the Canada Council for the Arts http://canadacouncil.ca
>
> Kate Armstrong
> http://katearmstrong.com
documentation
Programming documentation sucks. the tools for creating it suck.
In Director and Flash, how about a flowcharting tool similar to Visio. And any box or line in
the flowchart can also have links to point at the Score and perhaps a unit of code, will open
the Script window. This way you could document the code by creating a flowchart that would
provide a good overview of the flow control but also will point out where we are in the Score
and will open the Script window to view relevant scripts.
Trying to architect larger programs and then document them in these authoring tools meant for
smaller work is a real pain.
ja
In Director and Flash, how about a flowcharting tool similar to Visio. And any box or line in
the flowchart can also have links to point at the Score and perhaps a unit of code, will open
the Script window. This way you could document the code by creating a flowchart that would
provide a good overview of the flow control but also will point out where we are in the Score
and will open the Script window to view relevant scripts.
Trying to architect larger programs and then document them in these authoring tools meant for
smaller work is a real pain.
ja
Zeleznikar, Uribe, Luining, Karpov, Tindall/soulbath/Hoogerbrugge/++
New links at http://vispo.com/misc/links.htm :
JAKA ZELEZNIKAR (SLOVENIA)
http://www.jaka.org/
This Slovenian poet is one of the most technologically savvy poets working on the net. Be sure
to check out Typescape.2. He had a book of poems published in 1994 and his first net.work was in
1997, ie, he has migrated to the web as a writer, and as you can see has been rather busy since.
ANA MARIA URIBE (ARGENTINA)
http://orbita.starmedia.com/%7Eamuribe/
Ana Maria Uribe's "Tipoemas y Anipoemas" are typographical and animated poems. As you go through
her work, you see that she is a very serious visual poet of her country and is presenting a
large and important body of work on her site. She has made a strong transition from the page to
digital media; the soul that radiates from her work is intelligent, inventive, humourous, and
deeply engaged in visual poetry.
CTRLALTDEL.ORG (NETHERLANDS)
http://www.ctrlaltdel.org/
Peter Luining's site has an interesting collection of audiovisual Shockwave. He also uses the
Flash Communications Server and Multi-User Server in a piece that is wonderful in its
Mondrianesque compositional interactivity with other people online at the same time.
ANDRE KARPOV (CITIZEN OF THE WORLD)
http://www.andrekarpov.com/
I used to have a link here to Andre, who lived in Russia. Then he went travelling to Spain or
Italy, became a musician, and his site went down, so I removed the link. Most recently, he has
moved to New York and is back at it. As of this writing, he has an excellent new piece at
andrekarpov.com/hell.html. Karpov's Flash animation is not to be missed. Update: He has moved to
San Francisco.
THETHIRDPLACE.COM (UK++)
http://www.thethirdplace.com
Created and curated by hi-res.net for Sony Computer Entertainment Europe. Some excellent Flash
and Shockwave work here by James Tindall, soulbath, Hans Hoogerbrugge, and others.
ja
JAKA ZELEZNIKAR (SLOVENIA)
http://www.jaka.org/
This Slovenian poet is one of the most technologically savvy poets working on the net. Be sure
to check out Typescape.2. He had a book of poems published in 1994 and his first net.work was in
1997, ie, he has migrated to the web as a writer, and as you can see has been rather busy since.
ANA MARIA URIBE (ARGENTINA)
http://orbita.starmedia.com/%7Eamuribe/
Ana Maria Uribe's "Tipoemas y Anipoemas" are typographical and animated poems. As you go through
her work, you see that she is a very serious visual poet of her country and is presenting a
large and important body of work on her site. She has made a strong transition from the page to
digital media; the soul that radiates from her work is intelligent, inventive, humourous, and
deeply engaged in visual poetry.
CTRLALTDEL.ORG (NETHERLANDS)
http://www.ctrlaltdel.org/
Peter Luining's site has an interesting collection of audiovisual Shockwave. He also uses the
Flash Communications Server and Multi-User Server in a piece that is wonderful in its
Mondrianesque compositional interactivity with other people online at the same time.
ANDRE KARPOV (CITIZEN OF THE WORLD)
http://www.andrekarpov.com/
I used to have a link here to Andre, who lived in Russia. Then he went travelling to Spain or
Italy, became a musician, and his site went down, so I removed the link. Most recently, he has
moved to New York and is back at it. As of this writing, he has an excellent new piece at
andrekarpov.com/hell.html. Karpov's Flash animation is not to be missed. Update: He has moved to
San Francisco.
THETHIRDPLACE.COM (UK++)
http://www.thethirdplace.com
Created and curated by hi-res.net for Sony Computer Entertainment Europe. Some excellent Flash
and Shockwave work here by James Tindall, soulbath, Hans Hoogerbrugge, and others.
ja
Re: british artists practice on the net
http://www.debris.org.uk is Steve Duffy's site Debris which has been up for many years.
http://www.timehunt.com is Danny Kodicek's game TimeHunt.
http://www.stanza.co.uk is Stanza's interactive audio site.
http://www.soundtoys.net is Stanza's project involving the interactive audio of other people.
http://trace.ntu.ac.uk is trAce, which is a pretty amazing project by Sue Thomas and Helen
Whitehead.
http://sodaplay.com is very interactive and from the UK.
http://www.hphoward.demon.co.uk/poetry/index.htm is Peter Howard's site Low Probability of
Racoons
ja
> I'm writing an article this week for the Brit art mag a-n about british
> art practice on the net. Although I kind of know mainly who and what
> I'd like to focus on, I wondered rhizome brits would fancy posting
> their urls on the list so I give a good balanced overview. I think
> it would make interesting viewing for everyone anyway as MT has been
> throwing phrases like 'European nodes' around...
>
> cheers,
> jess.
>
> o
> /^ssgallery.com
> ][
http://www.timehunt.com is Danny Kodicek's game TimeHunt.
http://www.stanza.co.uk is Stanza's interactive audio site.
http://www.soundtoys.net is Stanza's project involving the interactive audio of other people.
http://trace.ntu.ac.uk is trAce, which is a pretty amazing project by Sue Thomas and Helen
Whitehead.
http://sodaplay.com is very interactive and from the UK.
http://www.hphoward.demon.co.uk/poetry/index.htm is Peter Howard's site Low Probability of
Racoons
ja
> I'm writing an article this week for the Brit art mag a-n about british
> art practice on the net. Although I kind of know mainly who and what
> I'd like to focus on, I wondered rhizome brits would fancy posting
> their urls on the list so I give a good balanced overview. I think
> it would make interesting viewing for everyone anyway as MT has been
> throwing phrases like 'European nodes' around...
>
> cheers,
> jess.
>
> o
> /^ssgallery.com
> ][
Re: Re: Arcangel/Deep/Young Ethereal
> Is Data Diaries truly punk? Is it actually not art (as alex galloway's accompanying
> statement claims)? Then I do the piece a service by deep linking straight to its
> heart ( http://www.turbulence.org/Works/arcangel/color/date.php?id=1 ), thus
> bypassing the extant obligatory signage which is actually tangential to the stated
> purposes of the piece itself, and re-contextualizing the piece in a more "natural"
> wild environment ( http://www.deepyoung.org/current/hardwired/ ).
>
> I can afford to tag and release like this because I don't live in the zoo. Too bad
> Cory's keepers wouldn't let his piece come out to play.
>
> Maybe next time. ( perhaps http://www.michelethursz.com/site/RAM/index.html )
>
> as you wish,
> Archive Registrar
> Deep/Young Ethereal Archive
> http://www.deepyoung.org
I checked out http://www.deepyoung.org ; that's an interesting site.
if you deep link to mov content, they pay for the bandwidth, Curt. You *are* getting something
from them that costs *them* money. And they store the Data Diaries. How would you like to host
the 11 hours and umpteen megabytes of the Data Diaries in color and black and white? That costs
money. You may reply by saying 'they have their own server so the cost is lower to them than it
would be to me.' But part of the reason they went to the trouble and expense to have their own
server is precisely to be able to host mega megabyte projects like this without it costing them
an arm and a leg, at least concerning storage. they made it happen, did the multi-person work to
establish an online server.
so you're getting two things from turbulence that costs them money when you deep link to them:
bandwidth and storage.
therefore you owe them something. And what are they asking? That you link to
http://turbulence.org/Works/arcangel . Not to http://turbulence.org .
also, turb worked to put in the grant applications that allowed them to be able to fund the
project.
but you're a big boy and must be aware of these things already. maybe not. but i'd be surprised
if not.
also, Curt, when I visit http://www.deepyoung.org I note terms such as "Archive", "Permanent
Collection", and "Current Exhibits". "Wild" indeed. Which gives one the impression that part of
the reason you don't want to link to http://turbulence.org/Works/arcangel is because you would
prefer it to be seen as a presentation of your site, not turb. And this seems self-serving, as
opposed to having much to do with a desire to "re-contextualizing the piece in a more "natural"
wild environment."
You provide interesting context for the works you link to (which is important), and I enjoy many
of the works in http://www.deepyoung.org , partly because of the context you provide, but Curt,
your project is one in *critical media* (like Paris Connection), *NOT* curatorship. You don't
want to link to http://turbulence.org/Works/arcangel because it seems you would like people to
think your site *does* involve curation. But curation involves much more than what you do on
your site, Curt. You should understand that. Look at all the work turb has done to present the
Data Diaries. I've mentioned what they have done, above. You've done diddly squat of that sort
of work but would like me to view your site as a curation? It's critical media, Curt, not
curation. And if you viewed it that way, you wouldn't have the problem you have of not wanting
to acknowledge the real curation and production work.
ja
> statement claims)? Then I do the piece a service by deep linking straight to its
> heart ( http://www.turbulence.org/Works/arcangel/color/date.php?id=1 ), thus
> bypassing the extant obligatory signage which is actually tangential to the stated
> purposes of the piece itself, and re-contextualizing the piece in a more "natural"
> wild environment ( http://www.deepyoung.org/current/hardwired/ ).
>
> I can afford to tag and release like this because I don't live in the zoo. Too bad
> Cory's keepers wouldn't let his piece come out to play.
>
> Maybe next time. ( perhaps http://www.michelethursz.com/site/RAM/index.html )
>
> as you wish,
> Archive Registrar
> Deep/Young Ethereal Archive
> http://www.deepyoung.org
I checked out http://www.deepyoung.org ; that's an interesting site.
if you deep link to mov content, they pay for the bandwidth, Curt. You *are* getting something
from them that costs *them* money. And they store the Data Diaries. How would you like to host
the 11 hours and umpteen megabytes of the Data Diaries in color and black and white? That costs
money. You may reply by saying 'they have their own server so the cost is lower to them than it
would be to me.' But part of the reason they went to the trouble and expense to have their own
server is precisely to be able to host mega megabyte projects like this without it costing them
an arm and a leg, at least concerning storage. they made it happen, did the multi-person work to
establish an online server.
so you're getting two things from turbulence that costs them money when you deep link to them:
bandwidth and storage.
therefore you owe them something. And what are they asking? That you link to
http://turbulence.org/Works/arcangel . Not to http://turbulence.org .
also, turb worked to put in the grant applications that allowed them to be able to fund the
project.
but you're a big boy and must be aware of these things already. maybe not. but i'd be surprised
if not.
also, Curt, when I visit http://www.deepyoung.org I note terms such as "Archive", "Permanent
Collection", and "Current Exhibits". "Wild" indeed. Which gives one the impression that part of
the reason you don't want to link to http://turbulence.org/Works/arcangel is because you would
prefer it to be seen as a presentation of your site, not turb. And this seems self-serving, as
opposed to having much to do with a desire to "re-contextualizing the piece in a more "natural"
wild environment."
You provide interesting context for the works you link to (which is important), and I enjoy many
of the works in http://www.deepyoung.org , partly because of the context you provide, but Curt,
your project is one in *critical media* (like Paris Connection), *NOT* curatorship. You don't
want to link to http://turbulence.org/Works/arcangel because it seems you would like people to
think your site *does* involve curation. But curation involves much more than what you do on
your site, Curt. You should understand that. Look at all the work turb has done to present the
Data Diaries. I've mentioned what they have done, above. You've done diddly squat of that sort
of work but would like me to view your site as a curation? It's critical media, Curt, not
curation. And if you viewed it that way, you wouldn't have the problem you have of not wanting
to acknowledge the real curation and production work.
ja