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.
movement
ANALOGY
In music, there's the build-up. The percussion eases off and the other
instrumentation is minimal. This builds until the thing takes off. Perhaps
it alights in a tree.
In net art, perhaps it starts out quite texty. A series of short texts. Then
perhaps it takes off into interesting processing. And alights once again
into a text or image.
ja
http://vispo.com/kearns
In music, there's the build-up. The percussion eases off and the other
instrumentation is minimal. This builds until the thing takes off. Perhaps
it alights in a tree.
In net art, perhaps it starts out quite texty. A series of short texts. Then
perhaps it takes off into interesting processing. And alights once again
into a text or image.
ja
http://vispo.com/kearns
Electronic Literature Collection, Vol 1
http://collection.eliterature.org
The Electronic Literature Collection, Volume One
The Electronic Literature Organization recently released the Electronic
Literature Collection, Volume One. The Collection, edited by N. Katherine
Hayles, Nick Montfort, Scott Rettberg, and Stephanie Strickland, is an
anthology of 60 eclectic works of electronic literature, published
simultaneously on CD-ROM and on the web at collection.eliterature.org. It is
being published by the Electronic Literature Organization under a Creative
Commons License (Attribution-NonCommercial-NoDerivs 2.5), so readers are
free to copy and share any of the works included, or for instance to install
the collection on every computer in a school's computer lab, without paying
any licensing fees. The Collection will be free for individuals.
The 60 works included in the Electronic Literature Collection present a
broad overview of the field of electronic literature, including selected
works in new media forms such as hypertext fiction, kinetic poetry,
generative and combinatory forms, network writing, codework, 3D, and
narrative animations. Contributors include authors and artists from Brazil,
the USA, Canada, the UK, France, Germany, and Australia. Each work is framed
with brief editorial and author descriptions and tagged with descriptive
keywords. The CD-ROM of the Collection runs on both Macintosh and Windows
platforms and is published in a case appropriate for library processing,
marking, and distribution. Free copies of the CD-ROM can be requested from
The Electronic Literature Organization.
The Collection will also be included with N. Katherine Hayles' forthcoming
book, Electronic Literature: Teaching, Interpreting, Playing (Notre Dame
University Press, 2007).
The Electronic Literature Organization (ELO) is a 501(c)(3) nonprofit
organization established in 1999 to promote and facilitate the writing,
publishing, and reading of electronic literature. Since its formation, the
Electronic Literature Organization has worked to assist writers and
publishers in bringing their literary works to a wider, global readership
and to provide them with the infrastructure necessary to reach each other.
The Electronic Literature Organization is a national organization based at
the Maryland Institute for Technology in the Humanities (MITH).
Volume One features work by:
Jim Andrews
Ingrid Ankerson & Megan Sapnar
Babel & Escha
Giselle Beiguelman
Philippe Bootz & Marcel Fremiot
Patrick-Henri Burgaud
J.R. Carpenter
John Cayley
M.D. Covereley
Sharif Ezzat
Edward Falco
Mary Flanagan
geniwate
Loss Pequeno Glazier
Kenneth Goldsmith
Richard Holeton
Daniel C. Howe and Aya Karpinska
Jon Ingold
Shelley Jackson
Michael Joyce
Robert Kendall
Deena Larsen
Kerry Lawrynovicz
Donna Leishman
Bill Marsh
Talan Memmott
Maria Mencia
Judd Morrissey
Stuart Moulthrop
Jason Nelson
Marko Niemi
Millie Niss & Martha Deed
Lance Olsen and Tim Guthrie
William Poundstone
Kate Pullinger & Babel
Melinda Rackham and Damien Everett
Aaron A. Reed
Shawn Rider
Jim Rosenberg
Dan Shiovitz
Emily Short
Alan Sondheim
Brian Kim Stefans
Reiner Strasser
Dan Waber
Jason Pimble
Noah Wardrip-Fruin, David Durand, Brion Moss, & Elaine Froehlich
Rob Wittig
Nanette Wylde
The Electronic Literature Collection, Volume One
The Electronic Literature Organization recently released the Electronic
Literature Collection, Volume One. The Collection, edited by N. Katherine
Hayles, Nick Montfort, Scott Rettberg, and Stephanie Strickland, is an
anthology of 60 eclectic works of electronic literature, published
simultaneously on CD-ROM and on the web at collection.eliterature.org. It is
being published by the Electronic Literature Organization under a Creative
Commons License (Attribution-NonCommercial-NoDerivs 2.5), so readers are
free to copy and share any of the works included, or for instance to install
the collection on every computer in a school's computer lab, without paying
any licensing fees. The Collection will be free for individuals.
The 60 works included in the Electronic Literature Collection present a
broad overview of the field of electronic literature, including selected
works in new media forms such as hypertext fiction, kinetic poetry,
generative and combinatory forms, network writing, codework, 3D, and
narrative animations. Contributors include authors and artists from Brazil,
the USA, Canada, the UK, France, Germany, and Australia. Each work is framed
with brief editorial and author descriptions and tagged with descriptive
keywords. The CD-ROM of the Collection runs on both Macintosh and Windows
platforms and is published in a case appropriate for library processing,
marking, and distribution. Free copies of the CD-ROM can be requested from
The Electronic Literature Organization.
The Collection will also be included with N. Katherine Hayles' forthcoming
book, Electronic Literature: Teaching, Interpreting, Playing (Notre Dame
University Press, 2007).
The Electronic Literature Organization (ELO) is a 501(c)(3) nonprofit
organization established in 1999 to promote and facilitate the writing,
publishing, and reading of electronic literature. Since its formation, the
Electronic Literature Organization has worked to assist writers and
publishers in bringing their literary works to a wider, global readership
and to provide them with the infrastructure necessary to reach each other.
The Electronic Literature Organization is a national organization based at
the Maryland Institute for Technology in the Humanities (MITH).
Volume One features work by:
Jim Andrews
Ingrid Ankerson & Megan Sapnar
Babel & Escha
Giselle Beiguelman
Philippe Bootz & Marcel Fremiot
Patrick-Henri Burgaud
J.R. Carpenter
John Cayley
M.D. Covereley
Sharif Ezzat
Edward Falco
Mary Flanagan
geniwate
Loss Pequeno Glazier
Kenneth Goldsmith
Richard Holeton
Daniel C. Howe and Aya Karpinska
Jon Ingold
Shelley Jackson
Michael Joyce
Robert Kendall
Deena Larsen
Kerry Lawrynovicz
Donna Leishman
Bill Marsh
Talan Memmott
Maria Mencia
Judd Morrissey
Stuart Moulthrop
Jason Nelson
Marko Niemi
Millie Niss & Martha Deed
Lance Olsen and Tim Guthrie
William Poundstone
Kate Pullinger & Babel
Melinda Rackham and Damien Everett
Aaron A. Reed
Shawn Rider
Jim Rosenberg
Dan Shiovitz
Emily Short
Alan Sondheim
Brian Kim Stefans
Reiner Strasser
Dan Waber
Jason Pimble
Noah Wardrip-Fruin, David Durand, Brion Moss, & Elaine Froehlich
Rob Wittig
Nanette Wylde
yesnation
here's an interesting way to explore radio in the usa available on the
internet: yesnation, at http://yes.com/yes-nation , by daniel goldscheider,
harry gottlieb, & kris hopkins.
a visualization of the map of usa radio tunes. when a new song starts
somewhere, the map shows the song's name. click a city to get a list of
radio stations. click one and it streams in. see the neural.it review of
this flash work: http://www.neural.it/nnews/yesnation_e.htm
ja
http://vispo.com/misc/ia.htm
internet: yesnation, at http://yes.com/yes-nation , by daniel goldscheider,
harry gottlieb, & kris hopkins.
a visualization of the map of usa radio tunes. when a new song starts
somewhere, the map shows the song's name. click a city to get a list of
radio stations. click one and it streams in. see the neural.it review of
this flash work: http://www.neural.it/nnews/yesnation_e.htm
ja
http://vispo.com/misc/ia.htm
RE: FW: RHIZOME_RAW: On 8-Bit Aesthetics: Hackers or Hacks?
> >...he had an interesting slogan: "Do as little as humanly possible"...
>
> *****************************************************************
>
> Yeah, it shows.
>
> The question is, is this in itself an ironic statement against
> 'operationality'? Or does it demonstrate that the chosen method
> of production doesn't have that much to offer in the first place?
> I do believe that to be a self-styled new media artist or
> critical practioneer relies on a built-in sense of technological
> determinism to begin with. I mean, it's just naive not to assume
> some measure of complicity. By this I mean that, technology is a
> craft, culture and society is heavily invested in it, these
> objects are a source of fascination and a means of production and
> to some extent we acknowledge that we all 'understand' technology
> and that the genie is not going back into the bottle. While the
> line from Duchamp to Warhol to Arcangel et. al. is somewhat
> legitimate, it is not smooth or reliable. To put it bluntly,
> Duchamp and Warhol were actually doing pretty different things at
> key moments in art & cultural history. You can't merely replicate
> their 'automatic' processes at thi!
> s point. And Warhol was many things, but he was certainly not
> lazy about his craft. He did cast an unfortunate spell across
> future schools of art practice, however: by appearing to do
> nothing (by becoming purely automatic), one can become as big a
> celebrity as the celebrity culture one's images are about.
What do you mean by "technological determinism"? And also what do you mean by "a built-in sense of technological determinism"? Otherwise, your post is very clear and interesting.
ja
http://vispo.com
>
> *****************************************************************
>
> Yeah, it shows.
>
> The question is, is this in itself an ironic statement against
> 'operationality'? Or does it demonstrate that the chosen method
> of production doesn't have that much to offer in the first place?
> I do believe that to be a self-styled new media artist or
> critical practioneer relies on a built-in sense of technological
> determinism to begin with. I mean, it's just naive not to assume
> some measure of complicity. By this I mean that, technology is a
> craft, culture and society is heavily invested in it, these
> objects are a source of fascination and a means of production and
> to some extent we acknowledge that we all 'understand' technology
> and that the genie is not going back into the bottle. While the
> line from Duchamp to Warhol to Arcangel et. al. is somewhat
> legitimate, it is not smooth or reliable. To put it bluntly,
> Duchamp and Warhol were actually doing pretty different things at
> key moments in art & cultural history. You can't merely replicate
> their 'automatic' processes at thi!
> s point. And Warhol was many things, but he was certainly not
> lazy about his craft. He did cast an unfortunate spell across
> future schools of art practice, however: by appearing to do
> nothing (by becoming purely automatic), one can become as big a
> celebrity as the celebrity culture one's images are about.
What do you mean by "technological determinism"? And also what do you mean by "a built-in sense of technological determinism"? Otherwise, your post is very clear and interesting.
ja
http://vispo.com
Re: director
> Hi Jim,
>
> I just got a new macbook pro, and it won't play shockwave files
> unless I run my browser in Rosetta mode, which is convoluted and
> ridiculous:
> http://www.adobe.com/cfusion/knowledgebase/index.cfm?id
>
> I just got a new macbook pro, and it won't play shockwave files
> unless I run my browser in Rosetta mode, which is convoluted and
> ridiculous:
> http://www.adobe.com/cfusion/knowledgebase/index.cfm?id