.net

The Comtemporary Net.Art

http://www.geocities.com/netart01/text2.htm
…
Sterling and Johnson perfectly qualifies Net.Art here in the sense that it is all about experimenting a new form of Art by combining different traditional and new media with software. A great combination of weird artistic and programming creations that gives birth to innovative hybrid Net-based multimedia (hypermedia) projects claiming the freedom of expression, both in the artistic and literary way. And besides Net.Art is well often realized under the aegis of the temporary autonomous zone of the late 90’s when anarchy and spontaneity let the most marginal and sometimes most interesting works emerge.
For, the content of a great deal of projects often contains social and political claims that aim at criticising different contemporary subjects related to diverse fields of interest (that merit attention to be paid) in interesting and sometimes funny ways. Interactive play on words, virtual humour, graphical subtleties, artistic references, political text-animations, etc… everything is good to exploit in multiple directions.
Such is the case of the opinionated project NoWar.NoGame, for instance. In an effort to symbolise and denigrate War, Jimpunk (the artist’s pseudonym) animates several Internet browser windows in a jerky style, makes pop-up windows that screen different pictures of War tremble like earthquakes, and also makes series of vertical lines, big black points and other basic graphics defile at a certain rhythm, etc… A whole innovative series of metaphors which are accompanied by several real voice samples and music backgrounds of historic references used as for representing and undermining War. The creators of Net.Art are obviously disciples of cyberpunk ideology with modern and often rather good tastes.At last “the effect of concept-driven revolution is to explain old things in new ways. The effect of tool-driven revolution is to discover new things that have to be explored.”
Net.Art practice is that way a tool-driven revolution. In fact by always pushing the limits of each medium’s possibilities and also by mixing them all together, Net artists finally lead the digital multimedia and try to go beyond the conventional use of media. For, Peter Weibel, head of the ZKM and curator of Net_Condition, has high hopes for the role Net.Art is about to play. As he says: “At present, Net.Art is the driving force, which is the most radical in transforming the closed system of the aesthetic object of modern Art into the open system of post-modern (or second modern) fields of action.”
Indeed the multidisciplinary Net.Art appears under different categories (as will be analysed): as mainly visualization, sound/music, 3D, interaction/interface, communication, games, and others. Projects can be content based, formal, poetic, ironic, or activist. And the genres can also vary from subversion to interaction, or streaming, browser Art, story-telling, or again to the Net as object.
Finally the evolution of media techniques and software possibilities irrevocably leads to new conception of Art. Net.Art is thus vowed to develop exponentially and to diversify and enlarge. Also, the mix, the addition of techniques, and the complexity of artists intentions incidentally render its concept difficult to discern. I therefore propose to analyse in a brief survey some of the different innovative artistic ideas/concepts, all being created in a more and more prominent interactive sphere.
…

The Interactive and Dynamic Dimensions of Net.Art
Interactivity as the new concept-based production of a New Media Art
2.The phase of Interaction

http://www.geocities.com/netart01/text3.htm
…
Furthermore Net.Art is created in ‘non-formal’ ways and plays and calls upon the participants’ imagination. For, they are very often expected to click on different hyperlinks integrated in different parts of the on-screen-page creation that are not obvious. This is the case for the project Form (here annexed) by Alexei Shulgin, a piece of Web Art humorously constructed on the principles of interactivity. The viewer is here required to click on different parts of the non-linear on-screen pages compositions. In the same way JimPunk (by Jimpunk) features several Net.Art pieces presented under the form of on-screen designs on which one has to click on the different parts in order to experience the different creations. The notion of interactivity is again very central to these artistic creations.
…

http://www.artificial.dk/articles/wartime.html

::: Jimpunk :::

Artysta “sieciowej sztuki”, Francuz, wspólpracuje z innymi artystami zwiazanymi z medium, jakim jest Internet. Polecamy jego strone: http://www.jimpunk.com

Odsylacz ‘Info’ na jego strony podaje:

”exit. zero % of art. one % of art. ten % of art. twanty % of no-art. no_art garanty. I’m furious. hell is god ?. red shadow. 1 % of love. 100 % of love. who ???. sense %. 2001.09.11. crash. ……………………………… no. thing. she. rainbow. me.”

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.: Przekaz w Pa..kie..tach

Wpisujesz adres strony lub lapka traca aktywne piksele i .. [czekanie na potwierdzenie .. potwierdzenie otrzymane ..] rozpoczynasz pobieranie danych. Animowane obrazki, migajace okna, skrypty. Feria wymykajaca sie sterowaniu. P rze la doowanie, Przzzeeeladowanienienie, Prze ladowanie, ladladPrrzladrze drzewanie la. W podreczniku czytam Fragmenty Tech-Ble-Ble:

[.otwórz.projekt.]

Rozwój ekranowych sytuacji jest uzalezniony od specyficznych parametrów:

od ilosci juz dostarczonych puzzli, ich ksztaltu i charakteru, przepustowosci ich ksztaltu, konfiguracji ich ksztaltu, rozdzielczosci charakteru. Czy te piksele sa konserwowane chemicznie czy tez telepatycznie?

Wiekszosc operacji dokonuje sie w ukryciu, nie mozna mówic o jakiejs ogólnej Calosci, otwierajacej sie w okreslonym Czasie, bowiem przekaz dzielony jest na fragmenty, przybywa róznymi drogami, nigdy nie masz tez pewnosci co ze soba niesie, czy nie zostal zainfekowany w trakcie podrózy. Bezpieczenstwo jest stanem chwilowym, niezawodnosc marzeniem.

Rytmicznie Animowane tapety wzorów, rytmicznie Monitorowana tapeta wzorów. Eksplodujace okna, przeplywajace i znikajace.

Monitor w odróznieniu od ekranu kinowego swieci wielookienkowe narracje. A jezeli maszyny beda snily (marzyly) jaka bedzie ta struktura snienia. Widzisz tyle, na ile pozwala ci twoja percepcja i charakter dostepu/transmisji twojego miekko-twardego ukladu. W innym miejscu, przy pomcy innego zestawu byc moze zobaczysz zupelnie inna wersje tego samego snu. Nigdy nie mysl, iz dostrzegles wszystkie watki. Na innym poziomie labiryntu lub innej platformie wszystko moze wygladac zupelnie inaczej.

Ikonka Jimpunka nie usmiech sie. Ikonka zaprasza. Sugeruje. Wielopoziomowe Projekcje i Przekaz w Pak03544188.exe.i.e.techach. Spróbuj zlowic binarny usmiech.

www.trafficfilms.pl/konfitury/nad/ludzie.htm

Un componimento incomprensibile, un po’ in francese un po’ in inglese, figlio zoppicante di un translator mal programmato. La traccia sonora di un elettrocardiogramma, che ritma lenta un succedersi apparentemente interminabile di pagine che si moltiplicano, si spostano sullo schermo, si ridimensionano, lampeggiano – e che, come al cinema, ha una brusca accelerata finale per sfociare in un unico, fastidioso, interminabile beeeeeeeeeeeeeep.
1n-0ut, ultimo lavoro del net artista francese jimpunk, è, come specifica subito, una meditazione in bianco e nero su un dualismo che, comunque venga riproposto, è sempre lo stesso: interno ed esterno, uno e zero, acceso e spento, luce ed ombra, bianco e nero, bene e male, vita e morte. Virtuoso del dynamic html, jimpunk prosegue la linea ‘decostruttiva’ della prima net.art. Come i costruttivisti degli anni Venti e Trenta però, raccoglie il gesto dada di Jodi, Vuk Cosic e Alexei Shulgin per costruire, comporre una sinfonia che affida il suo messaggio non ai testi (del tutto inesistenti), non alle immagini (ridotte a semplicissime icone), ma all’astratto fluire delle pagine. Pagine con cui l’utente può interagire, anche se il suo intervento si dimostra completamente ininfluente su un percorso che è già programmato: come il defibrillatore sul cuore malato di un moribondo. (domenico quaranta)

random-magazine.net/news/?storyid=385

Jim Punk
[If you’ve got a spare 5 minutes, check out the new web piece by jimpunk.com. It’s got sound but it’s not loud. Let’s call this an elegy for a certain brand of techno-futurism, but perhaps for a constructivist ethos as a whole, whether it be the international style, those assembly-line short haircuts or gray browser windows. A beautiful, melancholic mechanical ballet that certainly humbles this “digital poet.”]
www.jimpunk.com/1n-0ut/

Posted by Brian Stefans at March 03, 2003 10:35 AM

http://www.arras.net/weblog/000256.html

força dos trabalhos de Jimpunk —como no caso deste samuraï.remix— reside na potenciação de uma espécie de sabotagem à ideia literal de interactividade que a estes projectos costuma estar associada. A velocidade a que se desenrolam as sucessões de imagens e textos como que boicotam as suas potencialidades interactivas e, aí, reside o seu carácter derisório. O autor faz jus ao seu “nome” tal como em outros tempos o “punk” se ria dos outros sons, aqui é a própria noção constitutiva do projecto que se transforma em objecto de ataque cerrado. O artista ensaia, de forma abertamente experimental, uma forte competência conceptual que lhe permite preconizar um protagonismo “autoral” que, também, se afirma resistente a todas as tentativas de dissolução desta figura. A pretensa democraticidade de um fantasmagórico “autor distribuído” (sic) é aqui notoriamente escamoteada em favor de uma intervenção individualizada. O elevado potencial de visualidade que evidencia permite-lhe, ainda, construir uma ampla teia de imagens que se afirmam como uma espécie nova de narratividade, aquela que se constitui segundo as premissas temporais da velocidade acelerada da sua sucessão, sem quaisquer intuitos informacionais ou comunicativos é, aliás, mesmo do seu boicote que se trata. Aí reside o encanto do projecto e o seu interesse acrescentado na discussão, sempre necessária, dos alargamentos contínuos para a prática artística.

*
E-zine vector series b new issue [b#03], that includes projects by Dora Garcia [The Kingdom] and Jimpunk [Samuraï-remix], and still two new texts by Lourdes Cilleruelo /Juan Crego and Jorge Martins Rosa [http://www.virose.pt/vector].

www.virose.pt/vector/b_03/jimpunk.html

Javascript pop-up windows take on a new role in No War No Game. Once inside the website, it is best to just let go and wait until the javascript windows run their course. An abstract and violent narrative is the result of the obsessive scripting. The excessive amount of windows becomes a metaphor for bombings. Not recommended for epileptics.
Artist: Jim Punk
:: Eduardo Navas [+] ::

netartreview.net/logs/2003_02_09_backlog.html#88841267

.

°n

{

°°°°°°°

1n-0ut [meditation]

°°°°°°°

}

°ff
.

http://www.jimpunk.com/1n-0ut/

big-screen.revolution required

update : CYNETart_award 2004 – Trans-Media-Akademie Hellerau e.V.

— this piece is simple and elegant (philip wood)

— a classic net-art out event (Franck Ancel)

— a simple memorial that would be impossible in any other media hauntingly beautiful. (Joddy Zellen)

— I like the idea of having the towers represented as browser windows, as both the World Trade Center and a Web browser are containers for information, in a way. I can only think of all of those millions of pieces of paper floating in the air.(Brooke A. Knight)

— my favorite. it’s punk. it works. (Antonio Mendoza)

— The piece is very good, but what kills it for me is the part stating “remember” Something more powerful could have been stated instead of the expected cliche… nevertheless, it is very good. I do like the simplicity. (Eduardo Navas)

— simple memorial to 9-11, again displaying the images of wtc, this time represented by pop-up windows. (Ali Miharbi)

— form and content are one (David Crawford)

— Incidentally this was the first one I saw way back in early October. Very creative usage of browser window as art element. Kind of like drawing attention to the canvas of a painting… (Kristen Palana)

— witty use of form(code) (Christian de Lutz)

http://www.netarts.org/mcmogatk/2002/index.html

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The scores;

Andrey Velikanov 22

Eryk Salvaggio 20
jimpunk 19
Ali Miharbi 18
…..

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Crash Course, by Jim Punk, is a piece that takes over your computer. Thousands of windows open and close in a manner of seconds, blasting different sounds, songs, and noises over each other for a few moments and then disappearing. Many aspects of this work allude to the potential for war in the Middle East, from camels walking in beat across the desert, to military airplanes landing over and over again. Aside from directly showing things that make us think of the volatile state of the world, Punk creates a virtual space that acts much the way our world has been as of late. Crash Course is chaotic, violent, and almost out of control. The viewer can click their way through the different pages if they don’t close to quickly, but this pretend interaction is only a part of the work in that the piece seems to take you where ever it wants regardless of whether you interact or just sit there mesmerized. Punk uses sound in the same way that visual aspects of the work are presented. The original page that is opened continues to stay open for the duration of the experience, with a repetitive drone, that sort of seems to allude to the world, continuing its revolution, regardless of what humans do. As pages are opened, closed, resized and moved across the screen the sound jolts from one noise to another, existing only for a few seconds before the droning comes to the forefront of our senses again. This depiction of the world is especially pertinent since the medium used to create the work is part of the reason our world is in a state of turmoil. The technology and business necessary to support that technology is one of the things that non-western countries have been rebelling against. The web itself is a form of homogenization. For better or for worse it cannot be denied that the more connection there is the more different cultures become similar. Crash Course does not seem to take a stance in terms of ideology, rather presents through the medium of the net the turmoil and confusion of our current world.

jimpunk.com/info/txt20.html

GogolChat una finta chat che attraverso un’apposito set di istruzioni in DHTML seziona i dialoghi e li integra attraverso un motore di ricerca, In questo modo testi e immagini campionate e duplicate ritornano nello spazio di conversazione saturandolo con detriti digitali e altri scampoli di web, che descrivono una sorta di distorto immaginario generale.
Realizzato da Christophe Bruno &e Jimpunk, il software realizza i suoi intenti rivelandosi uno scandaglio casuale del mare di dati accessibili in rete, e un’interfaccia disorientante con la coscienza collettiva.
Dadaismo contemporaneo, pronto a tuffarsi nel caos dei dati visualizzati.

http://www.neural.it/nnews/gogolchat.htm

Bi radi doz›iveli klepetalnis›ko (chat room) konverzacijo s precejs›njim kosom interneta?
Natanc›neje, s tistim kosom, ki ga ‘vidi’ Google? Gogolchat omogoc›a prav to.
Da pa ne bi bilo bizarno-dadaistic›no~ zgolj Gogolchat-ovo besedic›enje,
ki temelji na vas›em vnosu in njega oprogramljeni interpretaciji zadetkov le tega na Googlu,
poskrbiu tudi DHTML, ki vse skupaj vizualizira po svoje. Srec›no.

http://www.mladina.si/dnevnik/29864/

Imagine having a chat room conversation with the entire Internet.
Gogolchat offers just such an experience.
Gogol is a software that parses your chat room dialogue through a search engine, spitting back the random results as part of the chat.
At a loss for words? Never mind, Gogol has no qualms about perpetually parsing its own dialogue.
The overall experience is not unlike having an absurd conversation with the collective conscious.
Gogolchat’s dada-esque DHTML manipulations make it as visually disorienting as it is textually bizarre.

– Curt Cloninger

rhizome.org/netArtNews?=20021031

Il progetto nasce dalla multi-user chat ideata da Christophe Bruno, in cui l’autore immagina che viva Gogol, un personaggio inventato. Gogol si presenta come una voce universale, quasi mitologica, forse una personificazione del web stesso. Subito dopo la sua inaugurazione, la Gogol Chat subisce un’intrusione: gli attacchi dell’infiltrato Jimpunk, che la trasfomrma in Golgot Chat…

Questo episodio ha dato il via ad una vera e propria installazione: un dibattito continuativo sul tema della comunicazione. E’ da questo incontro/scontro che il lavoro assume la sua forma attuale: un mix di testo (come si presentava la chat nella sua prima versione), di grafica e di programmazione (il contributo di Jimpunk).

(francesca d’antona)

random-magazine.net/modules/news/article.php?storyid=300

tijd.be/cultuur/artikel.asp?Id=350525