Den andra upplagan av One Second Film Festival har nyligen avgjorts. Vinnare blev den flitiga JimPunk med sin spektakulära kingkongViolencehistory, som sätter samman bilder från Peter Jacksons kommande King Kong-film och David Cronenbergs A History of Violence. Övriga bidrag kan beskådas på festivalens hemsida.
(Tack till DVblog.)
posted by Martin Degrell @ 22:59
Rhizome ArtBase Spotlight: ~ 1n-0ut [meditation] ~ (2003) by jimpunk, a piece that orchestrates multiple browsers into what we’d like to call ‘desktop wave’.
by michael
Nicolas Cage (2005, 1.7MB, 1 sec.)
JimPunk has several movies in the 2nd one second movie festival hosted
by Spanish site respeto-total.
His winning piece, kingkongViolencehistory, is below, but even better is his
Nicolas Cage – an object lesson in clarity, conveyed in the blink of an eye.
originaly from DVblog.org
Jimpunk has a new interactive piece: “Joseph.Beuys –
JA JA JA JA JA NEE NEE NEE NEE NEE – AsCii Sound rem:x – #1 – 20051013-12:04.â€
A shamanistic utterance by Beuysis given a Steve Reich “Come Out†treatment in three dimensions. Tthe dimensions being: height, width, and time. The sound bites overlap, go out of phase, and echo as you move your cursor around on an ASCII Beuys image–kind of like a Speak and Spell granular sampler.
Checking this out is recommended. posted by Your Host at 11:01 PM
SCREENFULL has been inactive for a while but jimpunk has a new interactive piece: “Joseph.Beuys – JA JA JA JA JA NEE NEE NEE NEE NEE – AsCii Sound rem:x – #1 – 20051013-12:04.” A shamanistic utterance by Beuys–not familiar with the clip–is given the Steve Reich “Come Out” treatment in three dimensions, the dimensions being height, width, and time. The sound bites overlap, go out of phase, and echo as you move a cursor around an ASCII Beuys image–kind of a speak and spell granular sampler. Subject to the usual gripes about making art based on the work of famous cult artists, checking it out is recommended. How’s that for passive construction to avoid the self-absorbed sounding first person?
– tom moody 10-15-2005 1:09 pm [link] [add a comment]
originaly from Tom Moody
Joseph Beuys è uno degli artisti contemporanei più amati. Un po’ per la sua rarissima capacità di coniugare forma e contenuto, politica e poetica, un po’ per il fascino indubbio del personaggio. Molte le citazioni e gli omaggi, che fioccano anche in rete… [segue]
Joseph Beuys is one of the most loved contemporary artists. He is admired for his incredible ability to mix form and content, politic ideas and poetic visions. And of course for being a real icon. Many on-line projects are dedicated to him. The most recent is Jimpunk‘s ascii sound remix.
D’altra parte, il noto concetto di “scultura sociale”, coniato dall’artista tedesco negli anni Settanta, è un serbatoio di spunti per la più giovane arte dei network che, specie agli esordi, lavorò proprio sulla costruzione di relazioni, più che sulla realizzazione di prodotti artistici in senso stretto. Lo stesso Wolfgang Stahele, fondatore di The Thing, lo citò in alcune interviste come fonte di ispirazione per il suo pionieristico network artistico.
Lo scorso anno MTAA mise in rete uno scaricatissimo filmato (Beastie Beuys) in cui Joseph Beuys si esibiva come cantante in un’improbabile pop band degli anni Ottanta, cantando un testo estremamente politico come Sonne statt Reagan. Il net artista francese Jimpunk ha invece lanciato ieri un ascii remix sonoro di una delle tracce più famose dell’artista tedesco, la dadaista ja ja ja ja ja nee nee nee nee nee. E’ il visitatore che può assemblare i suoni, cliccando qua e là sull’inconfondibile sagoma di Beuys, tratteggiata con poche righe parallele.
originaly from random-magazine.net
Joseph.Beuys
JA JA JA JA JA NEE NEE NEE NEE NEE
AsCii Sound rem:x
#1
20051013-12:04
https://www.jimpunk.com/Joseph.Beuys/
.player flash javascript frame
info about JA JA JA JA JA NEE NEE NEE NEE NEE >>> ubu
*Premiere Screening this Saturday Sept 24th @ Agnes.b Cinema, HK Arts Centre!
Screening at Agnes.b Cinema in late September (24th & 30th), & Habitus in the month of November (4th & 11th).
PLAY> is a collection of experimental work, aiming to explore the creative potentials of game play in audiovisual form and to reflect upon the intriguing relationships among game, art and contemporary culture. Curated by Ip Yuk-Yiu, featuring artists Cory Arcangel . Jimpunk . Kedy Fan Ho-Ki . Ho Siu-Kee . Hung Keung and more…
more info here
Presenter: HKADC
Co-Presenter: Hong Kong Arts Centre
In Association with:
Bittersweet, Habitus & EmergencyLab
the 24hr online performance/happening/blog “magnum i.p.” has now concluded
please visit it in it’s archived form at
http://www.screenfull.net/magnum-i.p/
linkoln + jimpunk
Jimpunk, Paris: AcidMissile
——————————————————————————–
cyber.tender.loving irony
by ibro fooman hasanovic, Sarajevo
AcidMissile by the French artist jimpunk stands out from the other works shown by the project 56kTV. What compelled me to write about this piece is its ‘clean’ approach and the way the artist compiles the elements of his visual language.
The artist describes his work as “a motion painting including sounds,
java scripts, pop ups etc. …as an Internet movie”.
The use of sound, rhythm, movement and colours etc. leads us to the conclusion that there is a strong semiotic side to this work, which though “non-representational†is still important for interpretation.
Symbolic elements used in the work are commercial banners, Google searches, spam, ASCII graphics, chat dialogues, error sounds, electronic music and so on. This assemblage has a very strong visual impact, while the scenario of “action” and its dramatisation make the work dynamic.
It seems to me, that the artist has succeeded in creating a perfect balance between semiotic and symbolic elements, which Julia Kristeva considers as the basis of representation.
Regarding the message (meaning) of this work, the artist perhaps dedicated quite some time to establish a visual effect, which I think is not a minus point at all.
Consumer Society is a society which consumes signs and becomes saturated with the aestheticized images of “Advertising” (in this case with the symbolic elements used in the work).
“This society is no longer based on production, but on representation and seduction” said Jean Baudrillard after all.
The “Aggression†and even more so the irony present in this work and in its concept can be read as an articulation of the “horror†in capitalistic contemporary life.
“There is no document of civilization that is not at the same time a document of barbarism” said Walter Benjamin.
There is something quite barbaric about jimpunk’s AcidMissile, which we can connect with our daily experiences. The use of pop-ups reminds us of jumbo posters, the typography and the titles remind us of the neon light signs/commercials and the performative character of this work reminds us of the worst nightmares happening to us sometimes while surfing the net – especially if one has had the experience of how annoying pop-up’s can be (and if you are like me, you wish, they had never been invented).
I do not know how effectively AcidMissile can light a little bulb in our head exposing the daily dose we get of this nightmare, a nightmare that implants itself spontaneously but very effectively into our consciousness or even into our sub consciousness.
I feel that when you see AcidMissile for the first time it is like driving through Las Vegas.
You are under a big impression of its “greatnessâ€. You don’t really read the neon signs, LED commercials, screens and all its Postmodernist paraphernalia; it’s much too fast. You just relax and enjoy the cruise, but subconsciously the information seeps into your brain. Unfortunately, after a couple of minutes, you are very confused, you don’t know where you are, where you want to go and where you are going. It is dangerous, but then, again, it’s cool.
Maybe this is the best metaphor for AcidMissile, because I think “space†on the internet feels just like that, when you travel through and experience it. I always imagine the net as big highways and roads of information.
jimpunk has created here a well balanced, clean and direct “bombâ€, that puts forward the question of another kind of terrorist threat – not from those terrorists wanting to fulfil their political or religious ideologies, but from terrorists hiding within the capitalistic system, who want to reach their economic goals. These are the terrorists hiding in ourselves, manifested through the information we release on the internet about our own “humble†mortal lives.
And this kind of terrorist threat, our personal one, is perhaps the most dangerous, because we can resist other forms of terrorism maybe, but can we possibly resist our own personal terrorism?
If all creativity is a result of revolt, this work maybe is jimpunk’s revolt. But does it create the need for any kind of a revolt within you?
Another way to conclude this text about the meaning of jimpunk’s work could be as follows:
It’s title – AcidMissile – is composed of
“acid†(: a slang for LSD; bitter sharp taste; critical and unkind, sarcastic…) and of
“missileâ€: object or weapon that is thrown or fired at a target, explosive weapon directed at a target automatically or by means of an electronic device (guided missile).
By combining these two words you get the title for cool, sharp and great art.
——————————————————————————–
ibro fooman hasanovic, Sarajevo.
Born in 1981. Works in the field of video, photogrpahy, drawing and film. His works are generaly comments on identity and history of art. Curently studies at Fine Arts Academy in Sarajevo. Cooks food, drinks votka and from time to time writes.
Jimpunk, Paris
Recent works and participations: 18th Stuttgarter Filmwinter, January 13 16,2005; CYNETart_04areale :: 2003-0153 1n-0ut [meditation]; The Infinite Fill Show, Foxy Production NYC; Festival Ciberart-Bilbao 2004; Simple Net Art Remix (); p0es1s. Digitale Poesie / Digital Poetry Berlin; postartum, long beach, california; tirana biennale 2 new media, (cv see: https://www.jimpunk.com/info/news00.html#festival)
originaly from 56kTV
Rhizome Home
Rhizome ArtBase 101 surveys salient themes in Internet art, a practice that has flourished in the last ten years. The exhibition presents forty selections from Rhizome.org’s online archive of new media art, the ArtBase, which was launched in 1999 and currently holds some 1,500 works by artists from around the world. Featured works are grouped by ten unifying themes and include seminal pieces by early practitioners as well as projects by some of the most pioneering emerging talents working in the field today. Encompassing software, games, moving image and websites, Rhizome ArtBase 101 presents the Internet as a strapping medium that rivals other art forms in its ability to buttress varied critical and formal explorations.
Rhizome ArtBase 101 is currently on exhibition at the New Museum of Contemporary Art. At the Museum, all 40 works are installed on computers and some have additionally been elaborated into installations. Rhizome Members receive half price admission to the New Museum during the run of the show, June 23rd – September 10th. **Please note that as our membership is constantly fluctuating, we will submit an updated list of our Members to the New Museum admission staff each Friday over the Summer. Practically, this means if you become a Member on Tuesday of a given week, your membership will not be noted at the front desk until the following Monday.
For the duration of the exhibition, all 40 works will be available here to the general online public. Many of these works would usually be accessible only to Rhizome Members as they are located within our archives.
DIRT STYLE
Projects described as DIRT STYLE counter the impulse to upgrade. Some works appropriate graphic detritus from the web in gestures that both celebrate and satirize digital pop culture. In extreme animalz: the movie: part I (2005), U.S.-based collective Paper Rad and Pittsburgh artist Matt Barton translated the outdated aesthetic of animated gifs into a sculptural installation exploring the spectacle and emotion we bring to these digital forms and their obsolescence. Here, collages of animated gifs of animals–sourced through Google’s Image search–are surrounded by similarly discarded stuffed animals found in thrift stores. For Rhizome ArtBase 101, their animations are available online, while the whole piece is available only at the New Museum. www.-reverse.-flash-.-back- (2003) is an example of French artist jimpunk’s deconstructed web-based work that makes use of HTML special effects, JavaScript and visual debris from the Internet. In www.-reverse.-flash-.-back-, browser windows–each a different colorful collage–pop up, stutter and careen across the screen, depriving the viewer of control including the ability to exit. In GOODWORLD (2002), New York artist Lew Baldwin uses a unique program to translate any submitted website into an abstracted field of RGB color blocks and decorative syntax. The program takes the most prominent image on a web page and turns it into a magenta abstraction, and transforms the rest of the site into chunks of other websafe colors. GOODWORLD neutralizes the web by draining content and generalizing all websites into aesthetically similar visual fields. Dirt Style works can also express nostalgia by repurposing analog technologies. In Dot Matrix Synth (2003), American artist Paul Slocum reprogrammed a dot matrix printer so that it plays electronic notes in accordance with different printing frequencies. For Rhizome ArtBase 101, Slocum accompanied the printer with an introductory sign that invites visitors to “PUSH BUTTONS TO ROCK OUT.”
