May 31 - June 6, 2003
Some of the pieces / compositions are quite simple and very clever. The endless-loop piece "Prozac" uses the phrase "hello world" commonly used by programmers to test scripts (especially when learning a new language) as an indication that the script is doing as it is intended: show the phrase on the screen -- a greeting from the computer back to the user, an induction to the new language. The piece inverts this situation by making the greeting directed at the computer itself, infinitely. This in essence greets the computer to a stage where it crashes.
The piece "Extreme Whitespace" is more visual than a conceptual piece like "Prozac". It basically keeps inputting "white space into your terminal for you to type into/with/against/around..." animating and coloring the text continuously, allowing you to turn typing into an event, a performance via a live text-based video mixer. The work has strong links with early ASCII art and those SPAM emails we all used to get that animated when you scrolled down fast. ÊSame concepts but with stunning results!!!
:: Garrett Lynch ::
Though the name Yoshi Sodeoka doesn't pop up very often in net-art circles, we are talking about an Internet pioneer who was one of the first that offered interactive sound-manipulation in his works for the Internet. His style can be best described as something that holds the middle between video and web esthetics. One of his first net projects, called "Project 19," can still be viewed at Hotwire's RGB gallery. What is less known though is that Yoshi Sodeoka was once an art director of the now legendary Word.com and set up the shift.jp.org's Bin section, which is an online exhibition space that concentrates on technically advanced net pieces. Though Bin is still running (a new work is added once a month), Word.com, and works of a dozen artists with it, are unfortunately lost forever. Recent work by Yoshi Sodeoka can be found at http://www.c404.tv.
:: Peter Luining ::
Last Friday and Saturday, the results of the Playing field project were presented in Dutch Artspace Montevideo. The project focused on streaming artworks and invited artists to come up with ideas that especially explored and exploited the restrictions of streaming technology as small bandwidth, small video size and waiting time caused by buffering. It resulted in 9 different projects that show what is possible nowadays with streaming technique. Among the 9 projects there were: Station Rose's "Webcasting," which uses streaming as a performance tool; Peter Merten's project "Lowflows," which uses ever-changing internet data (like temperature or cash flows) to create flows of abstract images; os_anm by Slateford that resurrects the old style pixel streams to Kirk Woolford's "reckless eyes," which uses real people with camera's attached to their heads to create a system allowing people to see through other peoples eyes. The project offers a very interesting overview of what is happening in this branch of net art.
:: Peter Luining ::
"b u i l . d i n g s" is a new interactive fiction project created for the Internet by Michael Sellam.
On the artist's request, 24 artists submitted photographs of buildings seen from the outside. These images were then used -- one for each hour in a day -- to wallpaper a room or cube (something along the lines of how Caves are manifested). This creates an outside in (the inverse of an inside out, obviously) virtual room / building in which the user is placed to turn and spin freely from a floating position. Sounds are then played to create the "narration from one place to another".
By combining photographs of architecture exteriors assembled by other artists and using a time-based algorithm to display the relevant photograph for the current hour, the artist manages to create a new virtual architecture which could only exist in a "space" like the internet: an architecture that's ever-changing, in-flux, progressing and / or deteriorating.
"buil.dings" is a continuation of 3D experiments by the artist occurring over the last two years, which also includes "seasons" and "visager".
:: Garrett Lynch ::
79 days is a political piece showing the role of abstraction as an aesthetic device which can easily become politicized within the right framework. Press Release:
"79 days, a networked hypermedia project is shown here in its English version. Activated by the viewer the narrative thread links an extensive image database of media coverage of the 79 days of the Kosovo war, a live image search for reporting about the recent war in Iraq, everyday photographs and streamed video of Kosovars and Serbs.Ê Visitors to the site add terms used in current war reporting to a glossary of war(s) on the front page. created 2003, 3000 files, 40 minutes of streamed video, sound. Optimized for DSL."
When entering the site, one can select and mouseover various images; when this is done, a close-up of the particular area is shown on the right hand side of the window. This activity is reminiscent of computer defragmentation programs, which use the close-up feature to help the user understand the type of information being represented. 79 days uses the defragmentation idea to question media manipulation of political events.
Artist: Trebor Scholz
:: Eduardo Navas ::