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Arte na BLOGOSFERA - ADRIANA FERREIRA SILVA | 20060419 |
Screenfull ~holy shizzidy! - Tina Dee | 20060225 |
Midterm Essay - Magz | 20051011 |
Два художника - tvkultura.ru | 20050929 |
You've Been Punked! - Johanna Fateman | 20050923 |
O grande vídeo - Marcus Bastos | 20050901 |
SCREENFULLy missing - //jonCates | 20050627 |
Há trangressões nos videoblogs? - Marcus Bastos | 20050612 |
Innovation: net art Building an Australian networked future - Melinda Rackham | 20050604 |
net art : Se lo schermo è stracolmo - vtanni - Random | 20050512 |
Il fascino in-discreto dell’errore - valentina tanni - Exibart | 20050511 |
Screenfull.net: THE BOOK - double, trace, shudder, crash. - Melinda Rackham | 20050422 |
Screenfull Rocked our World! - Fruminator | 20050418 |
The SCREENFULL dudes... - Tom Moody | 20050417 |
Recognition: Correction - Chris Ashley | 20050227 |
RE:view the base case (?) of Re: RHIZOME_RAW: rh:zome Subject (# of texts) - Jon Cates | 20050223 |
the base case (?) of Re: RHIZOME_RAW: rh:zome Subject (# of texts) - Jon Cates | 20050220 |
http://www.digitalmediatree.com/tommoody/?31093 - Tom Moody | 20050217 |
THANKS, JUST LOOKING - Chas Bowie | 20050106 |
TOM MOODY WEBLOG TOP TEN 2004 - Tom Moody | 20041218 |
Yesterday Night Fever - Fluctuat.net | 20040904 |
Arte na BLOGOSFERA - ADRIANA FERREIRA SILVA | 20060419 |
http://www1.folha.uol.com.br/fsp/ilustrad/fq1904200606.htm Arte na BLOGOSFERA ADRIANA FERREIRA SILVA DA REPORTAGEM LOCAL Uma subversão ocorre na blogosfera: alguns artistas estão transgredindo o formato mais conhecido dos blogs, de diários virtuais e de sites de notícias, e criando uma categoria de arte eletrônica batizada de blog arte. Como é isso? Num blog convencional, a página de abertura geralmente traz uma série de tópicos, com datas, imagens e comentários do autor logo abaixo. No subvertido, do fundo da tela saltam animações, desenhos, músicas, vídeos, que, num clique, podem se transformar em uma cascata de janelas coloridas e dominar o computador do usuário. Este efeito, que pode ser um tanto desesperador para os desavisados, foi utilizado pela dupla Rick Silva e Jimpunk para remixar uma obra do francês Marcel Duchamp, numa série de "ready-mades" que está no Screenfull, site que contabiliza mais de 100 mil visitas. Criado por Silva, 27, brasileiro radicado nos Estados Unidos que o assina sob o codinome Abe Linkoln, e pelo francês, de identidade desconhecida até por seu parceiro, o Screenfull é citado por net artistas como o melhor exemplar de blog arte, com seu mix de vídeo, animação, grafismos e música, que lhe rendeu resenhas elogiosas do museu de arte digital Rhizome. "O que mais me fascina é que eles [Silva e Punk] pegaram o formato de blog e embaralharam todos os parâmetros", diz Marcus Bastos, 31, professor do curso de mídias digitais da PUC-SP. "Eles fizeram um layout completamente fora do tradicional, com um "postzinho" depois do outro." A artista e pesquisadora Giselle Beiguelman, 43, também o destaca: "O Screenfull é o único blog que chegou ao limite", diz. "É uma somatória de quebra de regras. Tudo o que não é para fazer eles fizeram. Tem imagens gigantescas e animações no fundo da página", exemplifica. Silva, que mantém outros trabalhos de web arte no ar, define o Screenfull como uma "performance". "Para mim, é como a idéia de happening do Fluxus", diz ele, comparando-o com o movimento artístico dos anos 60, que agregava John Cage, Nam June Paik e Yoko Ono. "O que acontece com a net arte pessoal é que você faz um clique aqui, outro ali, e não precisa voltar mais ao site", acredita Silva. "Mas, com o nosso, as páginas mudam completamente. Há pessoas que vêm todo o dia para checar, porque sabem que vai mudar. Por isso é uma performance." Sobre Jimpunk, que tem outros trabalhos de net arte na rede e faz questão de manter o anonimato, Silva "acha" que ele é francês e que nasceu em 1966. Eles se conheceram na rede, conversando sobre cultura, e passaram a fazer trabalhos juntos. "Não sei nada sobre ele, só que é um mestre." Brasileiros De acordo com o site de buscas especializado Technorati, o universo dos blogs hoje é de cerca de 35 milhões de endereços. O boom ocorreu, principalmente, pela facilidade de manusear o formato. Para um web artista, que costuma desenvolver seus próprios softwares de criação, trabalhar com um blog é muito fácil. Mesmo assim, ainda não há muitos adeptos da blog arte no Brasil. Um dos primeiros a se aventurar na blog, ou melhor "vlog arte" -de videoblog-, foi o espanhol radicado em São Paulo Nacho Durán, 26, que mantém seu Feito a Mouse desde 2003. No site, Durán coloca vídeos manipulados que podem ser vistos de vários ângulos, acompanhados de trilha sonora. Sua inspiração, conta, vem da videoarte. "Trabalho com narrativas simultâneas e com o loop, que permite construir vários tipos de leituras", explica Durán. Atualmente, ele está atualizando o videoblog para torná-lo colaborativo. "As pessoas poderão enviar trabalhos", conta. "Também estou fazendo um software que vai permitir mixar os vídeos, trocar de lugar e mudar as cores, como se fosse um VJ [videojóquei] on-line." A baiana Andrea May, 40, vocalista da banda tara-code, também mantém um site com imagens, frases, fotos, cujo efeito acontece quando o espectador sobe e desce o mouse rapidamente. "Aproveito minhas canções e desenhos para compor o espaço do blog, como se fosse uma tela", descreve May. "Quando há apenas uma tela, o espaço é limitado. O interessante do blog é que ele pode ter diversas tramas." Making of Se alguns o subvertem, há os que mantêm o formato original e transformam o blog em uma espécie de making of de suas obras, como o videoartista Daniel Seda, 32, autor do projeto Telepatia. Seda montou um site em 2001 e passou a usá-lo como diário de anotações para o roteiro de um filme. Depois, construiu um videoblog para incluir cenas das filmagens. "Reuni trechos de três minutos, com os textos que geraram os fragmentos de vídeo." Quando terminar, ele pretende fazer um DVD. "Mas pode ser também uma instalação interativa, que tenha textos e vídeos", divaga Seda. "Encaro ambos como parte da obra." Pop arte Para os interessados, é possível acompanhar as novidades do mundo da blog arte em uma galeria on-line. Os curadores são os entusiastas Rick Silva e a norte-americana Marisa Olson, artista e editora do museu Rhizome. O site traz uma lista de links, com amostras de diversos tipos de blog e vlog arte, além de bizarrices, como o Universal Acid, série de performances de Silva e Olson, durante o Réveillon de 2006. Olson, 28, defende que a blog arte é uma nova forma de pop arte. "A pop arte lidava com a comunicação de massa, com temas como mercadorias e produtos de entretenimento", explica. "A blog arte fala sobre todas essas coisas, e acho que, como a pop arte, é fácil para as pessoas entenderem." Resta saber se haverá um Andy Warhol dessa nova onda. |
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Screenfull ~holy shizzidy! - Tina Dee | 20060225 |
http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=424315&blogID=91676026 Screenfull ~holy shizzidy! Current mood: enthralled My fascination with exploring new and exciting content online was taken to new heights recently... It started with www.drawball.com . If you have some time, I highly recommend checking it out. There you will find, among other things, one very large mural/mosaic that has been and is being created by those who view it from around the world. Unlock the paint brush by solving a simple puzzle and off you'll go contributing to it - live. That was pretty amazing. When it comes to this next site and the concept behind it, maybe I was under a rock this past year because I didn't discover this until the other day. If you're looking for a new, unexpected thrill in your online experience, I suggest smoking a joint, kicking back and parking your browser at: http://www.eyebeam.org/reblog/archives/rebloggers/screenfull.html Don't jump to it from here... just copy the link and go there when you've left MySpace. It's like tripping. Awesome. Part of what you'll be seeing from the (now archive) website Screenfull, reblogged through Eyebeam, will crash your browser with content. Well, not really. It won't crash, per se, but what will happen is that slowly you will be drawn into a completely different world. F**king brilliant~! The chaotic stream of icons, symbols, subsequent distortions and hakcer-induced hallucinations left me craving more. What an exciting alternative to the cookie-cutter, corporate-coated internet that we see every day. Props to jimpunk and Abe Linkoln, the site's creators. The site from which part of the content originally came from was Screenfull, which can be found at http://jimpunk.com/SCREENFULL It will look like nothing is there. Click somewhere on the screen, until it takes you to screenfull.net/stadium and then the fun begins. Scroll down that page... lol. Wonderfully fresh. From what I gather, when the site was live (pre-archive) a few months back, the presentation was being reworked by other artists as it "played." I guess a coffee table book came out last year on Screenfull. I will have to check it out. Such finds online are a reminder of the awesome potential of our technology to internationally connect us to create beatiful art, while giving us insight into other dimensions. If you're bored online these days, you just don't know where to look. Update: As if those sites weren't enough. Check these out for an equally bizarre, yet totally different experience: http://www.jimpunk.com/1n-0ut/ http://544x378.free.fr/(WebTV)/index.htm These guys are the Sonic Youth of web programming. |
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Midterm Essay - Magz | 20051011 |
http://systemsnormal.blogspot.com/2005/10/midterm-essay.html Screenfull.net
David Ross explained it best by saying what every blogger and net artist loves to hear: Its fun to be able to change things on a whim. That is exactly what these two artists do every day on this site.
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Два художника - tvkultura.ru | 20050929 |
http://www.tvkultura.ru/news.html?id=66008 Два художника – американец Abe Linkoln и француз jimpunk создают свой блог «screenfull.net» из кусочков истории культуры, которую сами и препарируют. Искаженные фотографии звезд рок-н-ролла, исковерканные работы Марселя Дюшама, дадаистов, скульптуры эпохи Возрождения – все это похоже на гибель Рима. Критики находят это остроумным. | |
You've Been Punked! - Johanna Fateman | 20050923 |
http://rhizome.org/netartnews/story.rhiz?×tamp=20050923 A trippy pixelated skull and a playlist of warped samples greet visitors to Screenfull.net, the collaborative blog by artists Abe Linkoln (USA) and jimpunk (France). If you like noise bands, dial-up (their browser-slowing tricks tend to frustrate navigation), or the endurance tropes of experimental work, you'll have the stomach for this noisy, erratic site. Vandalized screen-grabs, animated Photoshop layers, Duchamp references, and grafts of high art and advertising imagery engage both net art practices and the appropriationist strategies of punk, Dada, Situationism, and remix culture. Screenfull's printable project, THE BOOK, is a collection of menacing jokes and stylish recombinations tranquilized into a PDF format that feels like the eye of the storm, where still images appear without hypertext exit routes. The homepage also links to the artists' two-week takeover of the Eyebeam ReBlog, where prankish detournement resulted in ornate graffiti, thwarted scrolling, and a looping fragment of 'Rock the Casbah,' under horns and staticky chatter. Within these projects, Screenfull's ability to zero-in on the parodic vulnerabilities of their subjects supports the aim to disrupt the corporatized conventions of online display, or, in their words, the desire 'crash your browser with content.' |
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O grande vídeo - Marcus Bastos | 20050901 |
http://p.php.uol.com.br/tropico/html/textos/2639,1.shl ... Atualmente, o “Daily Report” está inativo, mas é possível encontrar uma amostra em “screenfull.net”, de abe linkoln e jimpunk. Segundo Rick Silva, o interessante no “Daily Report” é justamente o aspecto performático que os vídeos ganham, na medida em que os comentários feitos por Lynch são inúteis para quem não mora em Los Angeles. São raros os vlogues que fogem deste modelo próximo ao do diário. Mas são justamente esses os exemplos mais interessantes, por problematizarem com contundência as possibilidades da linguagem digital. Mais que um diário Se a graça da internet é permitir formas de comunicação alternativas aos modelos consolidados em outras mídias, por que o público deveria se conformar com vlogues que não passam de cabide para arquivos que poderiam ser vistos com mais resolução e conforto num aparelho de DVD em frente ao sofá da sala? “screenful.net”, de abe@linkoln e jimpunk, é um vlogue que foge desse formato, incorporando recursos de net art na construção de um diário experimental que tem de remixes conceituais a trechos de áudio, passando por um livro eletrônico e troca de mensagens em formatos próximos a das listas de discussão. Um aspecto importante dos experimentos que abe linkoln e jimpunk compartilham é o uso de recursos de programação, muitas vezes incorporando elementos cinéticos à interface web. Alguns exemplos são “Nu descendant un escalier” (in “La Boite... V1- Rem:x 2004”), “Le Grand verre / large glass ___rem:x #1” e a performance “magnum i.p”, de que restam, atualmente, apenas vestígios digitais. A interface do “screenfull.net” difere do padrão comum em sites populares como o UOL Blog, Blogger e em publicadores de código aberto, como Movable Type. As mensagens são organizadas como “posts”, mas aparecem sobre fundos que mudam regularmente, muitas vezes “perdidas” entre tantos elementos quanto a disposição do usuário por seguir, descendo a barra de rolagem, fizer visíveis na tela. Em alguns dos exemplos reunidos na série dedicada a Marcel Duchamp, (“Le boite en Valise”), os vídeos -apesar dos formatos típicos do vídeo digital- são precários e bastante breves. Isso responde a um problema dos videoblogues, que é a facilidade relativa de acesso a formatos sofisticados de vídeo na internet, apesar do número crescente de usuários com recursos de banda larga. Para entender melhor, vale a pena navegar por “AnémiC:nema P4rt 1 - (popup de precis:on) rot0Relief N°1”, “fountain (linkoln's 04 screenfull mix)” e “Re : À bruit secret -(Ready made assisté) film Ready made rectifié”. A partir deste exemplos, é possível ampliar o conceito de vlogue. Mais do que diário animado, ele aponta para uma exploração de formatos em que os elementos da interface tornam-se componentes de um grande vídeo que migra pelas diversas telas onde pode ser acessado. ... |
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SCREENFULLy missing - //jonCates | 20050627 |
https://mail.cofa.unsw.edu.au/pipermail/empyre/2005-June/msg00179.html [-empyre-] SCREENFULLy missing -------------------------------------------------------------------------------- To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> -------------------------------------------------------------------------------- in William Gibson's Pattern Recognition the "footage" is a mysterious viral new media meme creeping across the internet in lil bits n chunks of video, forming uneasy metanarratives. these video downloads are obsessionally interwoven into the lives of the main characters as they attempt to unravel the secrets of the footage: origin, meaning, maker(s), etc... those that follow the footage are known as footage heads + often inhabit 2 opposing + polarizing ideological camps. these camps are the Completists (i.e. Mama Anarchia) who believe that the footage is being [sliced/spliced] from an already existing + finished work w/the chunks being released slowly + the Progressives (i.e. heros Cayce Pollard + Parkaboy) who believe that the work is being created progressively or incrementally rather than representing moments in an already completed project, arc or narrative. the Completists + Progressives meet, discuss, flamewar + share footage on a fictional forum www site called "Fetish: Footage: Forum" aka "F:F:F" that hosts their conversations + exists as their communal cultural platform, their nonlocal networked home. i just read Pattern Recognition in early May, picking up a paperback ed in LaGuardia while rtn'ing to CHI IL .US from NYC NY .US. the novel engrossed me + i read it w/a sustained hunger. <---// WARNING: SPOILERS AHEAD //---> when i came to the concl of the book i was wonderfully disappointed in that perfect way that you want narratives to continue endlessly. perhaps this feeling is intentional on Gibson's part, a way of self-replicating feverish obsessions the characters feel for the footage. @ the concl of the book, Gibson reveals most (if not all) of the secrets of the footage. in doing so he slightly shifts the positioning of the Completists as villains + the Progressives as heros. the Progressive heros Cayce + Parkaboy were correct about their Progressivist theories on the footage. their immediate online enemy Mama Anarchia, in the overtly + overly theoretically motivated camp of the Completists, was fabricating a fantastically ornate tapestry of lies in various postmodern theoretical + critical dialects, modes + references incl'ing Derrida, Foucault, Lyotard, Jameson + Habermas. these fantastic lies were smoke-n-mirrors, a distraction to complicate their search for the truth. as others have noted in reviews of Pattern Recognition, Gibson directly addresses postmodernity by discussing Tommy Hilfiger fashions in rltn to Cayce's allergy to branding + in Cayce's experience of the "mirror-world" reflections + refractions of NYC NY .US in LND .UK, Tokyo .JP + Moscow .RU. but in the current context of this post, i am more interested in the inclusion of the character of Mama Anarchia who speaks fluently in postmodern discursive modes. toward the concl of Pattern Recognition Gibson reveals that Mama Anarchia is a puppenkopf (German for "Puppet head") controlled by the villainous character Dorotea Benedetti + articulated by her theory-soaked translation pawn, an unnamed "graduate student, in America" (00). Gibson incl's lil of Mama Anarchia's actual posts but refers to a large + intricate volume of posts, mini that are weaponized in flamewars w/Parkaboy, a Progressive hero of Pattern Recognition. in the unwritten discursive space of F:F:F, Mama Anarchia's postmodernist language + referents are in the service of the Completist view of the footage. Gibson positions the collaborative of Dorotea + the unnamed American graduate student aka Mama Anarchia's hollow, postmodern academicized theory as a ventriloquist act. this performance of identity is socially constructed in, on + thro the online forum F:F:F. the explanation of this performance of identity on page 325, is a brief but incisive view into a critique that Gibson fwds while shaping + dfn'n his characters. the character of the unnamed anonymous American graduate student is itself a {template|[puppenkopf/puppet]} for the wooden recital of academic languages that line reality tunnels (01) like reinforcing girders that support mine shafts. i am choosing this mine shaft imagery carefully to dirty up, invert + multiple the ivory tower metaphor that so often is used in this kind of comment or conversation. i am also using imagery that digs in order to address digging as dissing, i.e. in the form of personal attacks vs. digging as grokking, i.e. in the sense of developing a deep understanding. the language lining reality tunnels is often exclusionary as the tunnels brach off further + further from main arteries that are heavily travelled. the use of such exclusive language can be critiqued as elitist. the academic elitism that the usage of the term "ivory tower" refers to connects to discursive modes, dialects + references thro limiting or @ least judging the validity of "voice" on the grounds of scholarship, i.e. academicized {grokking|geeking out}. to grok (02) is to become part of or 01 w/, to be included in a knowledge [domain/body] completely + intuitively. perhaps the intuitive aspect of grokking can take place instantaneously + immediately. scholarship is in itself an academic {concept|construct} or theorypractice. as a [domain/area of activity] scholarship takes time + is often characterized by slow knowledge building processes of reflection, examination, analysis, development, etc... also, scholarship (like a taxonomical subclass or subgenre of art making, i.e. artware) appeals to specialists or ppl w/particularized [tastes/interests]. thin [lines of demarcation/fissures/layers of ice] separate specialists, obsessives + fetishists. w/o pathologizing, i suppose these lines are best measured in degrees of functionality. as a functional fetishist of specialized knowledge [domains/bodies], i can personally relate to the obsessive compulsive Cayce Pollard in her search for the footage as well as her sense of belonging [in/on] F:F:F. @ the concl of Pattern Recognition as Gibson reconciles or @ least complicates
the Completist + the Progressive views on the footage, he reveals the
footage to be the work of a singular artist (read genius -> read hi-modernist
myth) who uses appropriates found + original material to create the footage.
this artist, a character named Nora Volkova, samples, retouches, remixes
+ reconfigures elements into the footage. Nora makes a lil @ a time (validating
the Progressive view) + her sister Stella releases those bits as videos,
tracking their movements across networks as viral meme-like media files.
Nora is constructing a larger shape w/a perceptible pattern that the videos
form @ a mysterious metalevel of their structure. the making of meaningfulness i have bin subscribed to abe linkoln + jimpunk's SCREENFULL RSS feed since 2005.02.10 + have bin [aware of/following] their individual + collaborative work for way prior to dat. i have struggled w/SCREENFULL + my own responses to the RSS feed or blog art version + the HTML'd web art version. my responses have bin similar to Gibson's description of the Completists vs Progressives arguments in Pattern Recognition. i assume the process of SCREENFULL matches the Progressive position on the footage, meaning that SCREENFULL seems to be a collaborative stream of consciousness being generated just before release rather than far in advance. SCREENFULL also seems responsive, the stream of consciousness forking in relation to ongoing conversations, external stimuli + environmental new media [art-worlds/listservosphere/blogosphere] conditions. like a realtime [performance/system] these fluctuations enhance the experience of the work + create entry points. in terms of performance, experiences + entryways, abe linkoln + jimpunk
position SCREENFULL as "STADIUM ROCK NET.ART" (04). bitter sarcasm is sumTimes in itself difficult to swallow, so i will be perfectly sincere about SCREENFULL. like a Gibsonian Completist or a tattered hi-modernist, i wonder self-consciously what SCREENFULL adds up to [+/or] if it is supposed to add up to anyThin @ all. is culmination a viable standard for understanding if not judging SCREENFULL as a [work/project/piece] of new media art? is the {concept|construct} of culmination or even a gradual accumulation of meaningfulness too romantic a framework for interpreting the fragmented irony, embedded sarcasm + postmodern theorypractice of SCREENFULL? is meaningfulness as an artistic value important to jimpunk + abe linkoln? is SCREENFULL nihilistic? anarchistic? apocalyptic? discordian? does it have the politics of punk or the vanity of stadium rock? both? neither? none of the above? who knows? abe linkoln? jimpunk? SCREENFULL? they do not stay + they do not say. this month on empyre will end in a few days during which i will finish packing up my apt + mv to a new neighborhood. when i get to the new apt a new convo will have started on empyre. perhaps a summer project will have taken shape on the .microsound listserv. the _arch.ive_ list will continue probably hum + buzz w/the snd of {de|re}-compiled codeworks. artists will go into residency [in/on] NetBehaviour + make work work which will be [distributed/discussed] onList. the listservosphere will continue to bubble up in my inbox like the hyperfolded + foamy bubbleverse it is. the blogosphere will continue to grow, spin + fill my feedreader. i will continue to engage in both, QWERTYing + coding entries. the month of June 2005 will pass out of existence (in sense of active discussion) on empyre + into the archives + w/this [passage/transition] we will have lost a few moments or opportunities for exchange that could have lasted lifetimes between those who left, i.e. jimpunk + abe linkoln. maybe i am being romantic in my academically induced summertime, but i will miss June 2005 [in/on] empyre + miss the opportunities for digging into discussions i was looking fwd to. as jon.satrom wrote on empyre a year ago (05) quoting the late Phil Morton,
early video artist + innovator (to connect w/ terms of privileged criteria
+ the recent thread on hystorical determinations of value) in his last
post to empyre during May of 2004: "PEACE/ASCESIS" 00: "Puppet-head. A graduate student, in America". That is how i am able to be the Mama." - Dorotea Benedetti (p. 325)
01: "Reality Tunnel is a term coined by Timothy Leary and popularised by Robert Anton Wilson. It refers to the concept that with a subconscious set of filters formed from their beliefs and experiences, everyone interprets this same world differently, hence "Truth is in the eye of the beholder". The individual world each person occupies is said to be their reality tunnel."
02: the term "grok" was coined by author Robert A. Heinlein in the sci-fi classic Stranger in a Strange Land.
title: [copy/hack/bend] it right -------------------------------------------------------------------------------- References: -------------------------------------------------------------------------------- |
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Há trangressões nos videoblogs? - Marcus Bastos | 20050612 |
http://www.nucc.pucsp.br/~marcusbastos/mbastos_log/archives/001127.html ... Um exemplo seria screenful.net, de abe@linkoln e jimpunk. É um blog que foge do formato tradicional, incorporando recursos de net art na construção de um diário experimental que tem de remixes conceituais a trechos de áudio, passando por um livro eletrônico e troca de mensagens em formatos próximos a das listas de discussão. Um aspecto importante dos experimentos que abe linkoln e jimpunk compartilham é o uso de recursos de programação, muitas vezes incorporando elementos cinéticos à interface web. Não se tratam de vídeos propriamente dito, mas permitem uma discussão que pode ser relevante para o tópico desta noite: O que é a linguagem do vídeo na web? Será que o vídeo na internet se restringe apenas às janelas que abrem arquivos em formato .AVI ou .MOV? Não seria este momento extremamente deficiente em relação ao vídeo conforme constituído até então? Em sendo, não seria mais relevante explorar formas como as desenvolvidas por abe linkoln e jim punk, em que não há relação imediata com a cultura audiovisual e sim a tentativa de traduzir o vídeo nos termos da internet? Alguns exemplos são Nu descendant un escalier (in La Boite... V1- Rem:x 2004 ) [05-Dec-2004 05:04 AM], Le Grand verre / large glass ___rem:x #1 [22-Dec-2004 04:59 AM] e a performance magnum i.p. A interface do screenfull.net é completa diferente do padrão comum em sites populares como o Blogger e mesmo em publicadores de código aberto, como Movable Type e Wikki. É mantido o conceito de posts, mas a lista aparece na interface em meio a fundos que mudam com certa regularidade e diretórios que o usuário só descobre navegando bastante pelo Blog ou por meio de listas de discussão especializadas e comunidades específicas de arte digital. Em alguns dos exemplos reunidos na série dedicada a Marcel Duchamp, (Le boite em Valise), os vídeos — apesar de aparecer em formatos típicos do vídeo digital — são precários e bastante breves. Em sua maioria, são pequenos loops que funcionam como elementos de um contexto maior, antes que vídeos que se esgotam por si próprio. Isso responde a um problema dos videoblogues, que é a facilidade relativa de acesso a formatos sofisticados de vídeo na internet, apesar do número crescente de usuários com recursos de banda larga. A título de ilustração, vale a pena navegar por AnémiC:nema P4rt 1 - (popup de precis:on) rot0Relief N°1 07-Dec-2004 02:07 AM http://jimpunk.com/SCREENFULL/stadium/2004/12/an1.html 2004-12-02 fountain (linkoln's 04 screenfull mix) http://jimpunk.com/SCREENFULL/stadium/2004/12/fountain-linkolns-04-screenfull-mix.html Re : À bruit secret -(Ready made assisté) film Ready made rectifié 05-Dec-2004 07:34 AM) http://jimpunk.com/SCREENFULL/stadium/2004/12/re.html http://jimpunk.com/SCREENFULL/stadium/2004/12/nude-descending-staircase-abe-linkolns.html ( -- formato .JPG) 2004-12-07 linkoln and jimpunk quit remixing duchamp to go play yahoo chess http://jimpunk.com/SCREENFULL/stadium/2004/12/linkoln-and-jimpunk-quit-remixing.html ... |
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Innovation: net art Building an Australian networked future - Melinda Rackham | 20050604 |
http://www.realtimearts.net/rt67/rackham.html Innovation: net art Building an Australian networked future Melinda Rackham Abe Linkoln and jimpunk, screenfull.net: the book (www.screenfull.net) (2005) We all know what slippery commodities innovation and creativity are. Despite the establishment of comfortable centres of excellence and well-resourced educational institutions, the it factor often elusively springs, like a pop up window, from left field. After all, networked art itself first emerged in the gaps and margins of the military and educational internet and our first generation of Australian net artists like Francesca da Rimini, Ian Haig, Garry Zebbington, Mez, Graham Crawford, John Tonkin and myself, were all self-taught. In the mid 1990s it was a necessity to be innovative with online practices, and artists had the excitement and advantage of working in the uncharted territory of a fresh media. A decade later things have changed. The net has been through a period of exponential growth, conformity, and inevitable bust. Now the network is firmly established as a way of life, disillusionment has been dusted off and more sustainable practices are emerging. But is innovative networked art still emerging locally and globally today? Innovations The answer is yes, and screenfull.net (www.screenfull.net), a collaborative blog which starts by promising the viewer "we crash your browser with content", is one example. It doesnt actually crash your browser, but it does confront the viewer with raucous and chaotic content, forcing a re-consideration of the multiple narratives with which we engage each day. This is not safe, clean, bland web designit breaches good taste and sensible research practice, looking beyond the familiar to create its own rules of engagement. The artists responsiblejimpunk (France) and Abe Linkoln (USA)know
their stuff, rigorously mashing theory, humour, hybrid-media immersion
and larrikin impudence. Linkolns previous curatorial projects display
an intelligent understanding of, and inquiry into, the unique qualities
and decade long history of networked art. Likewise jimpunk smartly exploits
the Rococo potentialities of HTML, JavaScript and Flash to create sites
that give you a scary and exciting media-rich roller coaster ride unlike
anything youve experienced online before. This generation of artists grew up with the network and are often being educated by experienced online practitioners. One of screenfull.nets authors is a graduate student at Colorado Universitys TECHNE practice-based initiative. The program was instigated by veteran net.artist Mark Amerika and encourages investigation into the complex and intuitive processes that revolve around emerging forms of knowledge in networked digital culture. The students built the course website, curate shows and conduct interviews with global practitioners, creating works for real world consumption rather than classroom assessment. In fact screenfull.net was recently recognised as the Graduate Schools top research project over the usual winners from physics and engineering. When network art is positioned as a discrete discipline, retaining its unique language and strengths, rather than being squeezed into a scientific model, then an environment is created where innovation can be recognised and fostered. Locally we are implementing similar strategies, such as Integrated Media Practice taught by Adrian Miles, himself the creator of the video blog or Vog, and Jeremy Yuille at RMIT. This course ensures students are multi-literate in network and software, utilising blogging, podcasting, videoblogging, and conducting collaborative research in an ongoing wiki (server software allowing users to freely create and edit web page content using any web browser). The crucial innovative factor is that students learn to operate within a network rather than learning to design work for networked display. These focused but flexible environments encourage experimentation, and
most importantly acknowledge failure as a crucial part of the innovation
process. If we continually operate from a position where funded projects
must have successful outcomes for the recipient to be re-funded, then
spectacular failures from which innovative work often arises will be swept
under the carpet. When research projects jealously guard their Intellectual
Property, others waste time and money examining similar issues. We need
visionary direction to nurture openness in our educational and research
cultures. Mature policy makers understand that the creative process is
playful, involving the sharing and breaking of things to create newness. Dr Melinda Rackham is a networked artist and curator based in Sydney. She also produces -empyre- online forum. |
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net art : Se lo schermo è stracolmo - vtanni - Random | 20050512 |
http://www.random-magazine.net/modules/news/article.php?storyid=706 Per una volta i contenuti non scarseggiano. Anzi, sono decisamente troppi. Così tanti che il browser non li contiene e crolla. Sconfitto da troppe immagini, troppi video, troppi link. Due net artisti (Jimpunk e Abe Linkoln) esplorano lestetica del collasso. Il progetto Screenfull.net sfida il vostro computer
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Il fascino in-discreto dell’errore - valentina tanni - Exibart | 20050511 |
http://www.exibart.com/notizia.asp/IDNotizia/12776/IDCategoria/1 Il fascino in-discreto dellerrore
mercoledì 11 maggio 2005 Lo schermo è ipertrofico, sovraffollato, traboccante. Zeppo di scritte, immagini, video e link colorati. La finestra del browser è talmente bersagliata di codice che crasha inesorabilmente. Sconfitta. Abbattuta sotto i colpi di centinaia di istruzioni confuse e sovrapposte. Dellinevitabile disfatta del programma di navigazione ci avverte prima di tutto un suono, incantato e ripetitivo come uno scratch old school. Seguito da un blocco totale e senza appello. Daltra parte, il crollo era non solo previsto, ma minuziosamente predisposto, promesso (o forse dovremmo dire minacciato) da Jimpunk e Abe Linkoln, autori del progetto Screenfull. Net artista francese tra i più longevi e fantasiosi, da sempre interessato allindagine sulle dinamiche e sulle estetiche dellerrore tecnologico, Jimpunk annuncia da subito la propria mission in cima allhome page: We crash your browser with content, facciamo collassare il vostro browser per eccesso di contenuti. E alle sue finestre moltiplicate e lampeggianti, agli scroll infiniti, ai link impazziti e agli script schizofrenici si aggiunge per loccasione lironia tutta postmoderna di Abe Linkoln, misterioso artista che marchia le sue operazioni con un logo inconfondibile: un ritratto di Abramo Lincoln in perfetto look punk, con tanto di cresta. Ecco allora mescolarsi sullo schermo sacro e profano, cultura e trash, arte e pettegolezzo: Marcel Duchamp e Paris Hilton, cinema dautore e telefilm di serie B, Piet Mondrian e Microsoft Windows. Quello che sembra a prima vista solo un frullato casuale di materiale multimediale, si rivela però, ad unanalisi più attenta, una selezione molto personale e paradossalmente accurata, un collage esteticamente caotico, ma non privo di logica. Una composizione fa pensare più ad un montaggio ragionato che ad un cut-up casuale, fatto di riferimenti che nemmeno il rumoroso affollamento riesce ad offuscare del tutto. La tanto celebrata capacità degli elaboratori di gestire contemporaneamente testi, immagini e suoni viene qui portata allesasperazione e al paradosso. Ed è leccesso di contenuti -quei contenuti additati da molti come la vera risorsa dello sviluppo economico occidentale- che conduce il software ad una morte inevitabile. Sarebbe fin troppo semplice leggere questo crollo come una metafora dellipertrofia informativa della società contemporanea. Meno evidente, forse, ma non per questo meno stimolante, il possibile parallelo con il funzionamento della psiche umana, anchessa soggetta a crash da sovraccarico. Linvasione barbarica incontenibile di Screenfull ha invaso in questi giorni anche le pagine del blog di Eyebeam, nota istituzione newyorchese che studia, sostiene ed espone la new media art. Sul diario digitale del museo (Re:blog) , che ogni mese ospita un blogger differente, è infatti in azione il virus ultra-contenutistico di Jimpunk e Abe Linkoln che rende il sito poco leggibile, ma molto vitale. Per chi avesse crashato il browser, ma non fosse ancora soddisfatto, è a disposizione anche le-book del progetto, scaricabile in formato pdf. Il documento è lungo una sessantina di pagine, ma sarà difficile riuscire a sfogliarlo tutto in una volta prima che si blocchi o si chiuda da sè. In bocca al lupo Acrobat Reader. link correlati valentina tanni [exibart] |
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Subject: Screenfull.net: THE BOOK - double, trace, shudder, crash. | 20050422 |
RHIZOME DIGEST: 4.22.05 9. Date: 4.22.05 Tempted by Screenfull.net's promise: "we crash your browser with content" I clicked. I waited. I hoped. I prayed . My screen stuttered and What it does do though is get slower, allowing gaps and rips to appear
in So, okay, I may be a bit cynical after a decade online, but is there Our protagonists are artists jimpunk and Abe Linkoln--personas who both
draw Screenfull is completed with a radio blog--Radio Sounds--which in true At last, with THE BOOK, Abe and jimpunk's promise eventuated and the This formatting tempts me to decode the work into a fixed liner narrative
as The thematic of THE BOOK revolves around the almost blasphemous possibility This lasso aesthetic, and it continual use thought out the site and book As well there is a lot of smirky-smart doubling and splitting in these Print it and you miss Screenfull's competitive soundtracks and QuickTime Linkoln's previous art curatorial works certainly do that with their Our co-author, jimpunk, is a talented and elegant artist who capitalises
on Scrolling around the Screenfull site, with Radio Sounds open in another It is for this reason web will emerge as the dominant media of the 21st Authoring art in symbiosis with an evolving electronic communications 1n-0ut [meditation]: http://www.jimpunk.com/1n-0ut/ jimpunk: http://www.jimpunk.com Lev Manovich, The Language of New Media, MIT Press, 2001: Pop up: http://turbulence.org/curators/popup Radio Sounds: Screenfull.net: http://jimpunk.com/SCREENFULL Tiia Johannson: http://artun.ee/~tiia/netproject/ THE BOOK: http://jimpunk.com/SCREENFULL/THE_BOOK_2.pdf Tricia Fragnito, This is your Browser on ):mpun<, BlackFlash mag, |
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Screenfull Rocked our World! | 20050418 |
http://www.eyebeam.org/reblog/archives/2005/04/screenfull_rocked_our_world.html
Wow. Screenfull. Net.Art. I need an advil... ... Posted by fruminator at 12:17 PM |
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The SCREENFULL dudes... | 20050417 |
http://www.digitalmediatree.com/tommoody/?31722
The SCREENFULL dudes started off their reBlogging gig at Eyebeam politely
enough, but total chaos now rules. My browser actually just crashed--you're
advised to let everything load before attempting to scroll. I keep thinking
of Jerry Lewis in Hardly Working ("essential late Lewis..."
Cahiers du Cinema), a walking disaster who can't keep a job. He's rinsing
glasses at a bar that's just hired him, staring at the exotic dancer's
leg above him on the counter, trying to control himself, but you know
by the end of the scene he's going to be grabbing the leg screaming "I
LIKE IT! I LIKE IT!" |
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Recognition: Correction | 20050227 |
http://www.chrisashley.net/weblog/archives/week_2005_02_27.html#000695
Recognition: Correction
Look, See is not an artblog as that label is coming to be understood:
a weblog about art; it is instead a place for an art practice. And that
is what makes my weblog different than, as far as I can tell, any other
weblog. Screenfull is a media mashup, a collision of borrowed (stolen) images, video, and audio that have been cut and torn and jammed back together, maybe in the mode of Brion Gysin's and William Burroughs' cutups, not to mention Schwitters and Rauschenberg, Negativland, Bruce Conner and Jess, and Superbad. But Screenfull had slipped my mind, or I had blocked it out, perhaps because even though Screenfull is a work(s) that takes a form I know well and understand, it is not exactly my cup of tea any more. Not to take anything away from abe, jimpunk, and Screenfull, to be sure, but the pop quotation, the smirking ironic comment, the technique of ripping five things into several pieces and reassembling them into something raw and casual, just isn't something that interests me a lot as an artist; I see that in my past as juvenile, puerile, mean-spirited, and obvious. This assessment does not mean, however, that I don't check in with Screefull a couple of times a week. And you, dear reader, might consider doing the same. Turn up the volume! I have added this text as an update to the February 9, 2005 post.
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RE:view the base case (?) of Re: RHIZOME_RAW: rh:zome Subject (# of texts) | 20050223 |
http://www.nettime.org/pipermail/nettime-ann/2005-February/001707.html <nettime-ann> [ann] RE:view the base case (?) of Re: RHIZOME_RAW:
rh:zome Subject (# of texts) -------------------------------------------------------------------------------- On Sun, 20 Feb 2005 @ 21:55:44 -0600, jimpunk wrote: this SCREENFULL ( D:gest) formatted nettime-ann includes an ann of the
"On Feb 19, 2005, at 1:20 PM, jimpunk wrote: announcing the "rh:zome Subject (# of texts)" project. as of
the "rh:zome Subject (# of texts)" includes a txt msg: "PLEASE
DO NOT ++ includes links to: http://del.icio.us/screenfull ++ http://del.icio.us/LaBoiteEnValise that utilize del.icio.us profiles to [promote/distribute] projects +
++ screenfull Splash scrs 3, 2 + 1. -> do these Splashes reference
++ links to + appropriations of blogger.com + feedburner.com imgs + all of these elements combine to create a highly self-referential loop
this remix of the "PLEASE DO NOT" threads traces back to the
ongoing " o-o is an experimental mailing list for net art and it's theory.
Also data.src: title: >>>> info o-o |
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the base case (?) of Re: RHIZOME_RAW: rh:zome Subject (# of texts) | 20050220 |
-http://rhizome.org/thread.rhiz?thread=16385&text=31279#31279
On Feb 19, 2005, at 1:20 PM, jimpunk wrote: announcing the "rh:zome Subject (# of texts)" project. as of
the "rh:zome Subject (# of texts)" includes a txt msg: "PLEASE
DO NOT ++ includes links to: http://del.icio.us/screenfull ++ http://del.icio.us/LaBoiteEnValise that utilize del.icio.us profiles to [promote/distribute] projects + ++ screenfull Splash scrs 3, 2 + 1. -> do these Splashes reference ++ links to + appropriations of blogger.com + feedburner.com imgs + all of these elements combine to create a highly self-referential loop this remix of the "PLEASE DO NOT" threads traces back to the
ongoing " o-o is an experimental mailing list for net art and it's theory.
Also data.src: title: >>>> info o-o o-o, which "PLEASE DO NOT SPAM ART" connects to via while i love the horizontal spread of the "rh:zome Subject (# of // jonCates (#) referents: (0) data.src: title: alt.interface (1) data.src: title: About Us <--! NOT FOR DISTRIBUTION EXCEPT ON RHIZOME.ORG WEBSITE AND EMAIL // jonCates |
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http://www.digitalmediatree.com/tommoody/?31093 | 20050217 |
http://www.digitalmediatree.com/tommoody/?31093 mbs asked about the rave video stills (here and here, and thanks to Maciej for reBlogging them). Studio !K7 marketed the X-MIX tapes as veejay tools, I'm guessing, as well as for home consumption. Not all of the ones I photographed are !K7--for a while I was collecting "home trip tapes" so there are others sprinkled in--but the X-MIX vids are indisputably the most creative. They started out fairly primitive (visually) in the early 90s and as the label got more established as a techno hub they grew more elaborate. The computer videos augment what are basically mixtapes by famous DJs. An audio track crossfades into another track and an accompanying visual also fades. Each vid goes with a particular song and they don't recur elsewhere in the mix. As I mentioned, some of it's cheesy and some brilliant. The level of technology closely tracks the movement from flatness to realistic rendering in the gaming world--I suspect the (mostly European) video producers worked in both worlds. So one finds much wireframe modeling--bugs, babes, robots--mixed in with shimmery, vertiginous psychedelic effects. And cartoon characters with glowsticks and pacifiers. The best vids are the most layered: where you sense the artist trying to work like a drum and bass musician, really mixing stuff up. If only more computer art was this conscientiously mashed up and wild. SCREENFULL comes close to this sensibility--although jimpunk and Linkoln are more art aware and less about fast-lane club kid sensation. From my neat, gallery oriented presentation it might look like I'm selling these appropriation photos. That's not really my objective. I'd want to get clearance from the artists and labels before I make a buck off them, so as a practical matter I'd say it's a private project published on the net that puts "art brackets" around works for popular consumption. The photos are pretty dry and "connoisseur-y" compared to the videos. - tom moody 2-17-2005 2:41 pm [link] [add a comment] |
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THANKS, JUST LOOKING | 20050106 |
http://www.portlandmercury.com/2005-01-06/art.html
THANKS, JUST LOOKING This is So Last Year: The Best of 2004
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TOM MOODY WEBLOG TOP TEN 2004 | 20041218 |
http://www.digitalmediatree.com/tommoody/?30321 1. Site Specific Art is Dead; Long Live.... According to this text from the year 2035, the dinosaur finally died when artists ran amok in the Saarinen airport terminal; meanwhile, the small mammals of wireless and GPS-based art stirred at Spectropolis 2004 and the psy.geo.CONFLUX. 2. Diana Kingsley at Leo Castelli. This artist's subtle humor has been evading the New York art world for years. The New Yorker is the latest not to get it. 3. Ross Knight at the Sculpture Center. More art too subtle for Saltz and the other pros. 4. The Infinite Fill Show at Foxy Production. Full disclosure: I was in this show (along with 92 other artists). Then I wrote about it online. And kept writing about it. 5. Four-way tie: Banks Violette at Team, John Parker at Front Room, Joe McKay at vertexList, Paper Rad at Foxy Production (and online). 6. Loretta Lux. Powerful images of ideal children combine painting, photography and digi-manipulation, made even more meme-worthy by resizing at a web-friendly 300 x 300 pixels. 7. Chris Ashley, Jan - December 2004. Abstract painter moves to web, uses your browser to make paintings, blows away competition. 8. SCREENFULL, July - December 2004. If Sigmar Polke were in his 20s today and/or Richard Prince surfed the net instead of painting, I'm convinced this is what he/they'd be doing. If only it could be commodified... 9. Michelle Handelman in Bryant Park. The performances were memorably quirky, the summer day was beautiful, Bryant Park was beautiful... 10. Duncan Hannah at JG Contemporary/James Graham & Sons. Weirdly affectless Hopperesque work by one of New York's best painters, whose work has long been too subtle for...oh never mind. Honorable Mention: The art world's efforts to end the Iraq War and throw the current bums out of office, even though both have so far failed.
- tom moody 12-18-2004 1:25 pm [link] [1 comment] |
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Yesterday Night Fever | 20040904 |
http://www.fluctuat.net/blog/article.php3?id_article=893 -------------------------------------------------------------------------------- | |
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