1n-0ut, suoni e interfacce a tutto schermo.
September 1st, 2003
Il lavoro di settembre presentato dal DIAN (Digital Interactive Artists’ Network) è 1n-0ut dell’artista francese Jimpunk, autore di numerosi esperimenti di poesia e animazione quali GogolChat, International Computers *Error*, Slampoetrypictures e T.L.J. project. Un’ipnotico loop di sottofondo scandisce l’alternarsi continuo delle finestre prodighe di simboli, astrazioni geometriche e zoom su figure che ritornano con sistematicità nell’infinita sequenza. Il suono, quindi, come un metronomo, dà il tempo e i rimbalzi delle cornici delle finestre ne contrastano la regolarità , facendosi rincorrere dallo sguardo costretto a seguire movimenti, ora rapidi ora rallentati, in tutte le zone dello schermo. La sensazione dominante è quella dell’assunzione da parte del browser di una propria sequenza di comandi, tipica di quest’artista maestro dello spettacolo programmabile in javascript. Essa si rinforza nei momenti più serrati, alternando però ritmo e luci, in un’animazione estratta dalla stessa interfaccia a cui siamo adusi.
Im Internet: Künstlerseiten
July 28th, 2003JIMPUNK, ein Internetkünstler dessen Seite mit den Erscheinungsformen von Internetbefragungen und Fehlermeldungen spielt. Ebenso überraschend wie erstaunlich sind die Animationen und Pixelspielereien mit multiplen Quadraten und tanzen Totenköpfen. Die verwirrende Navigation durch die vielfach verschachtelte Hierarchie sollte einen dabei nicht abschrecken. Eine wahre Punkseite! link…
How does TV culture affect new media and the web?
July 25th, 2003Now the above question can be entertained in Jim Punk’s latest blogspot: http://544×378.free.fr/(WebTV)/index.htm. WebTV is a blog specializing in graphics as opposed to text. The result is a commentary on TV culture as a medium affecting new technologies such as the web. WebTV uses TV language to create a daily journal. Jim Punk’s new blogspot may be an omen of what TV will be like in the future. Today it is possible to choose TV programs at will from cable companies, thanks to digital technology; tomorrow viewers might be able to insert their own material into a TV program, much like punk’s weblog, to be watched in their homes.
You can be invited by Jim Punk to participate. If you are interested, it might be a good idea to drop him a line. You can visit his website: jimpunk.com for more information on his net art projects.
:: Eduardo Navas [+] ::
?-?-?-?-?-?-? Blog-bble Gum — Blog-bble Gun ?-?-?-?-?-?-?
July 4th, 2003
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embed src=”https://www.jimpunk.com/daily/nov/pop.mp3″ width=”100″ height=”50″ autoplay=”false”
Jerk In situ /for/ Mnemonic Psychedelic Unwritten Noise /for/ Kaleidoscope
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Fw: dirty screen – [__] –
May 10th, 2003—– Original Message —–
Sent: Saturday, May 10, 2003 1:35 PM
Subject: dirty screen – [__] –
my screen is
– [__] –
–
dirty screen &
diary
gogolchat by amy alexander
May 8th, 2003gogolchat
Gogolchat is a bot whose dialogue is gathered from web texts. It actually responds to what you write, but with dialogue gathered from the web – and so it takes on the web’s “personality.” One finds oneself in the familiar Eliza-patient situation: asking Gogolchat questions, expecting sterile, generic, occasionally logical AI responses incorporating one’s questions. But the web isn’t written by an algorithm; it’s written by humans. Still, on the web, humans often don’t write quite humanly; Gogolchat’s dialect is definitely webspeak.
Gogolchat necessarily has a short attention span, rambling from topic to topic in a fairly schizophrenic manner. This might seem a predictable characteristic for a project like this – but what’s nice is that its continual text interruptions are themselves interrupted by images, web forms, etc. That sort of technique could easily turn into random mishmosh, but Gogolchat astutely uses timing and formal visual characteristics in a way that makes the graphical elements seem like performative interventions. Gogolchat manages to take advantage of the quirkiness and randomness of the web and promote its personality, rather than falling into sterility or nihilism.
by Amy Alexander
From Telecommunication and Network Art to todays Web Art
March 23rd, 2003The 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.â€
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.â€
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.
…
www.trafficfilms.pl
March 12th, 2003::: Jimpunk :::
Artysta “sieciowej sztuki”, Francuz, wspólpracuje z innymi artystami zwiazanymi z medium, jakim jest Internet. Polecamy jego strone: https://www.jimpunk.com
Odsylacz ‘Info’ na jego strony podaje:
â€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.â€
—
—
.: 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.
Javascript meditation
March 4th, 2003
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)
www.arras.net
March 3rd, 2003Jim 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.virose.pt/vector/ [e-zine]
February 23rd, 2003força 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, aÃ, 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 distribuÃdo†(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. Aà reside o encanto do projecto e o seu interesse acrescentado na discussão, sempre necessária, dos alargamentos contÃnuos para a prática artÃstica.
*
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].