Jason Nelson
Since the beginning
Works in United States of America

Without really predicting the future, I've discovered a few places where quality goods can be purchased. I'm
also from Oklahoma, but sadly don't live there now. Being a poet by training, I love the way lights flicker and sounds make my stomach all a flutter.

Jason is scared of being hidden. But then so are the digital bits he farms. Certain regulations require his standing, and then sitting, which is just too damn obvious. Sometimes he teaches at Griffith University (on the coast’s most golden of coasts) as a lecturer in Cyberstudies, although the term conjures robots with beaks and hard wired…somethings. If you like this, you love this: www.heliozoa.com.

Sometimes, after nights of talking with friends late into the night, you come home at three or four in the morning and stumble into the bathroom. After a long release of fluids, and the sound of a night’s hard work being flushed away, you look in the mirror. At first the disheveled interloper in the metal backed glass is someone you don’t know. You douse your face with water and lookup again. Still the head and nose and eyes appear strange wobbling back at you with their curious stare. You strain to recognize the person. You clean the glass with a mildewing towel from the floor and still struggle to befriend this other invading your space.

Perhaps that is the way I feel as a hypermedia poet. After the intoxicating experience of creating hypermedia works, I am bewildered by my artistic reflection. Am I, as some ask, a painter? A poet? A sound manipulator? A multimedia tinkerer? I suppose some would say I am all of these. And others would say none. The work presented here for the Ohio Arts grant represents my pulling together art forms, my collage of poetry, image, sound, movement, and interaction. All of these elements are then filtered through the web environment, allowing for a broad audience, a hypermedia gallery for every computer.

But all of this, all the merging of various genres and technology is still too new, too ever evolving for anybody to know in any coherently explainable way what exactly they are doing. And that is exactly why hypermedia is so beautiful and enticing. Sometime, long ago, someone began classifying and categorizing our world. You are a baker, you are a criminal and you over there are a Central American poet revealing the class struggle. While some say postmodernism is mired in it’s own labeling of anti-labeling paradox, it has, at least, provided a generous platform for the creation of hypermedia works. The previous ideas of what goes where, of what poetic technique is helpful for recreating the pains and joys of life, seem silly in a hypermedia environment. An environment where technology allows the artist to cross boundaries and create new borders. Creativity is dental floss is mouse movement.

When I painfully shave the coarse hairs from my face, and cleaning the cream from my face look into the mirror, I don’t see an artist I can place in a recognizable category. All I see are the crooked lines between my eyebrows and the towel rack behind me. I see a poem forming in the exhaust fans loud and louder buzz. The condensation over words carrying the light from a seventy-five watt bulb to patterns on the floor.

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new work and giving away postcards from australia

Just recently finished, or at least in the first stage
of finished, this new project:

The title: The Bomar Gene

The url: http://www.heliozoa.com/gene/bomargene.htm

And if you are curious there are other new and updated
works on http://www.heliozoa.com

all thoughts are more than welcome and IF THEY COME

love, Jason Nelson

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a chance for brains to work on making us rich

Dearest All,

Excuse the overblown and awkwardly worded subject
line, but it does point towards..ahem...my point.

Perhaps I can make a slightly askew statement and say
that idea of supporting ones self through their art
can be tied (not solely but related to) two other
factors (again not the only factors): One (yes I like
to list), the generation of larger audiences for our
work, and Two, more and more diverse and more
personalized engagement with our audience.

First the second: people collect prints (copies of
paintings or photographs) often because they are
signed, because they know that the artist they admire,
that touches them, has touched, has added to the
print. So ....how can we....being all creative and
intelligent and quirk-handsome, how can we devise new
methods to make our work both universally available
and personalized? Perhaps there needs to be some type
of signing? Perhaps work can have additions, like
variants of the work (which we do already)? Perhaps
the work could be tied to the physical object the work
contains. Like much of my work is ficto-biography. So
could I create artifacts to compliment that work?

Secondly the first: of course, you say in a gurgling
mad voice, of course we need larger, more varied
audiences. Yes, but then what is being done to gather
those audiences? Most of us shoot for the Ars Elec or
the Siggraph or the Tate or whatever. But the
audiences there are largely ourselves. Poetry has the
same problem. But poetry does better then we, despite
it being doomed to small sections of bookstores, and
we with the entire web, and the skills to manipulate
said environment.

I suppose my call should fall to myself, but I am just
a displaced country boy who forgets the punch line at
fancy parties.

cheers, Jason Nelson

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Net Art Market: continued

I've been reading the various reponses to this thread
with interest. I must admit I'm not much of an
economic or social theorist and so dont have many
opinions on the differences between Marxist camps or
other related schools of thought. Perhaps I am an
overly simplistic, but I find many notions about what
art should be, or is, or is supposed to do to be
limiting artistically. I have no real idea of what art
is or what role it should play. In fact I repel such
notions from my brain.

But as for commercializing or making cash of our work:

1. In now way does my work or would I encourage
other's work to somehow change to meet market
conditions. This seems a useless argument though. As
anytime there is a themed contest or strong artistic
movement or current event, people make their art to
fit those conditions. So...if Cranberry Cakes says to
me...can you make something about Cranberries...I will
make something about Cranberries..If they dont like
it...that doesnt mean I'll change it..it just means I
now have a lovely cranberry work.

2. As for collecting. People collect everything and
anything. So yes...it will eventually happen that
people collect net art on a large scale. It just seems
that now, before it happens, we have a chance to mold
the way it happens.

3. My idea on getting work into the websites of
galleries still stands. Most of our audeinces are each
other. So, why not have our work, our bits gathering
larger audiences.

4. A story: some years ago I was actually able to
convince my way into the offices and phone lines of a
major cosmetics, perfume company. They were preparing
to launch some new perfumes and we talked about one
called Po-em (or something like that). They asked to
see my writing to use for their marketing. But once
they did, they said no, it was too odd and nonlinear
for them. I tried to refer them to some of my more
traditional friends, but they had already moved on.
The moral is....we have to make more opportunities for
ourselves...that might not mean our work will make
anything...but at least we will have the chance of
being rejected...

cheers, Jason Nelson

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another note on collecting.

I've been toying with the idea of contacting art
galleries with websites. Not the big sandstone and
metal girder ones. But the smaller galleries and
attempting to convince them to create online net art
galleries. If we could convince a few of them to
feature work, then it might translate to more of an
acceptance of net art. And then it seems from that
acceptance would come the desire to own from
collectors. It's not a revolutionary step, but it is
one that would help spread what we do.

cheers, Jason Nelson

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Re: Re: Re: Net Art Market

I imagine what needs to happen is for someone (one of
us) to convince a paint/clay/print collector who has a
website to buy a net art work. The price would
probably be low, so the hundred hours it took to make
would average out to about five dollars an hour. But
then the hope is that the idea would spread, and as
collectors love to apply their egos to their objects
their fellow collectors would surely hear about it.

Doron Golan (of computerfinearts.com) has an
interesting model created for collecting net art. But
the problem might be how do you know what an original
is. But it seems the artist could easily add something
to the work to clearly state who owns it (after it was
bought), and other add ons to the net artwork could
act as a more complex form of signing.

So maybe we should put our research skills to use and
find some collectors with a presence on the web.

Jason Nelson

--- curt cloninger <curt@lab404.com> wrote:
> It seems like the first (and perhaps only)
> altoids-sponsored net artist was Mark Napier, but I
> can't remember. I think Diesel sponsors similar
> stuff, but it's more in the form of contests, and
> it's more filmic/motion design.
> ryan griffis wrote:
> > hasn't Altoids and Nintendo also sponsored similar
> net-based
> > projects?
> > i tried to find the Altoids projects again, but
> only found promotion
> > of
> > their investments in contemporary art. i know that
> they had a net
> > art-based project...
> > ryan
> >
> > On Apr 22, 2005, at 12:21 PM, curt cloninger
> wrote:
> >
> > > Hi Jason,
> > >
> > > Sony PlayStation 2 sponsored such an "online
> gallery" a while back,
> > > curated by hi-res.net and commissioning/hosting
> work by various
> > > experimental designers. The space is archived
> here:
> > > http://archive.hi-res.net/thethirdplace.com/
> >
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