Interview with JODI

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fromjodi
toceci.moss
dateThu, Apr 2, 2009 at 3:07 AM
subjectdodo ¿ǝɯozıɥɹ ɹoɟ ʍǝıʌɹǝʇuı :ǝɹ

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Reappearance of the Undead

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In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...

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A Studio Visit with Gareth Long

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Last week, I met with artist Gareth Long at his Brooklyn apartment for a studio visit. I first became aware of his work through another artist Tyler Coburn, who wrote about him for Rhizome. After training in video for many years, Long turned to sculpture as a means to push video's formal qualities, illuminating the porousness of the category in relation to other mediums. His renderings of video into alternate forms, such as lenticular prints or digitally fabricated sculptures, often succumb to the faulty interpretations and limitations found in the slippage between languages. His book-based works pick up on this topic, functioning as artifacts of mistranslation.

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ARTIST'S STATEMENT N0. 45,730,944: THE PERFECT ARTISTIC WEB SITE (2001) - Young-Hae Chang Heavy Industries

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Solitude (2009) - Bailey Salisbury

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Films (2008) - Charles Broskoski

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The piece explores internet-time, or how time passes on the internet, by providing a contrast to immediacy of online media. On his site, eight well known films (Pulp Fiction, Terminator 2 and When Harry Met Sally among them) play continuously on a fixed daily schedule whether users visit the site or not. The screen is black save only for the subtitles of the dialog.

-- FROM PRESS RELEASE

Currently on view at Postmasters Gallery in New York

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Untitled Black Video (2009) - Martijn Hendriks

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Reconstruction of a cellphone video of Saddam Hussein’s execution that was leaked onto the internet, only using found comments on the video that were posted on web forums on the first day of the video’s appearance

-- FROM THE ARTIST'S DESCRIPTION

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1 Year of Archived Email (2005) - Cody Trepte

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In people, memory is the capacity to retain an impression of past experiences. In technology, memory refers to the parts of a digital computer that retain data for some interval of time. Computers now have the ability to save a lifetime of photographs, videos, audio and communications, changing the way that we reference personal memory. With this change, computers can archive and index memories in a way that we have never been able to do before. Computers have become machines for remembering. Using the most primitive form of digital storage, I have recorded all of the emails stored on my computer into thousands of punched cards. Each card contains fragments of communication layered one on top of another to form an analog representation of my collected digital communications. In the same way that information is stored on the computer, I have created indexes to reference the information. Each index is created by manually sifting through the information, word by word, creating unique directories of my personal communications.

-- FROM THE ARTIST'S STATEMENT

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THE NAMES (2008) - Wayne Daly

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In which 20,000 spammer aliases, collected between 2003 and 2008, are listed alphabetically (a possible resource for writers and moonlighters).

-- FROM THE PUBLISHERS DESCRIPTION

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Artist's Signature (1998) - Heath Bunting

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