Jason Nelson
Since the beginning
Works in United States of America

PORTFOLIO (11)
BIO
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.

Discussions (71) Opportunities (3) Events (23) Jobs (0)
DISCUSSION

call for digital art


As a part of the Art of the Animal Symposium, 27-28 November, Gold Coast, Australia ( conference website), we are curating a companion net-based digital art exhibition. This is a juried exhibition with prizes for the top three artworks in each category (prizes to be announced, but expect the unusual).

For more details: http://www.eagleandowl.com/animalartcall.html

Theme of Exhibition:
In order to compliment and expand on the discussions/papers presented at the symposium, all artworks should be related to or address in some way one or more of the following inquires (or convince us otherwise) (animals=non-human):

If animals were to create with digital tools what would they create? How would they create?
Digital Artworks inspired by animal creativity, or the creations of animals.
Relate animal and human creativity/art. Should we even have such distinctions?
Digital Artworks which explore how we perceive animal creativity.

How to Submit: Deadline: November 6, (artworks will be reviewed as they are received)
All artworks submitted should be web ready and be sent via a URL that contains the artwork. Public tools such as youtube or flickr are fine for the jury process
Send an e-mail with the following to both addresses:
w.nelson[removetext]@[removetext]gu.edu.au
artofanimal[removetext]@[removetext]gmail.com

Artist(s) name, affiliation, contact details and a brief bio.
Title of Artwork, URL for jury review, and one paragraph description of how the artwork relates to the exhibition themes.

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DISCUSSION

This is how to entice an audience outside NMA.


Saved in my draft folder is an e-mail I decided not to send. Within it is a
list of pop culture and news sites that have featured my work. In addition it
contains numerous methods for promoting net art outside the NMA arena.
BUT.....then I realized that supplying my growing list of resources really wasn't
the solution. Rather the solution is far more simplistic and ultimately effective.

HOW TO ENTICE AN AUDIENCE OUTSIDE NMA:

STAGE ONE: TRY.
Seriously make an attempt and keep doing it.
Research venues like forums, and blogs and online newspapers, link aggregates.
Look into sites like Fark.com or BoingBoing or Suicidegirls. Translate Japanese and German and Russian sites via babelfish and send to them. I doubt many of you have
even attempted to send out your artwork beyond existing calls for work. I got ten thousand hits from a freaking real estate agency site. And that led to two newspaper
articles. And the work was incredibly abstract and bizarre. You could even try contacting local galleries with websites with the offer of making an online gallery for them. Easy for you. Like magic for them.
So, TRY, actually TRY.

STAGE TWO: GET OVER YOURSELF.
I would never suggest changing your work. Hell my work is confusing and crazy.
But you have to learn to write up a few sentences to explain your work to a particular audience. Maybe your work is some highly conceptual commentary on 15th century alchemy (like my hermeticon). That makes you smart and attractive and powerful, but most people would rather experience the artwork than read about it. So, use the highly referenced language for your ACM abstract, and include it in a link for those who might be interested. But using phrases like "this is fucked up and yet oddly compelling", should not be beneath you. It accurately describes your work and in
web speak is a damn nice compliment.

STAGE THREE: TOUGHEN UP.
Most of us are fragile, insecure, paranoid people. People will call your work crap, or worse not care. But then you already have that don't you. So, toughen up, and
build your own audience. If two teenagers lip sinking the Pokemon theme song can start a small industry from a homemade video, surely we can find some small percentage of that audience.

STAGE FOUR: MAKE MORE INTERACTIVE NET ARTWORK.
Unfortunately most people want to watch and most physical space galleries do not
understand how to incorporate interactive net artworks. Sure, you should still try to convince them. But don't get up and go to the mundane world of video art. Stay with it. There is a gigantic web based audience waiting to see your artwork.

Shat.....I sound like some inspirational speaker....alas....do with these what you may....

Jason Nelson

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DISCUSSION

Announcement: Vholoce: Weather Visualiser


The Griffith University Centre of Digital Experimentation (GCODE) Presents:

Vholoce: Weather Visualiser

http://www.secrettechnology.com/weather\_rss/weather\_rss.html

A net artwork merging meteorological science, and digital artwork. Vholoce*: Weather Visualiser uses real-time weather data to create a series of visualizations
intended to both artistically interpret weather conditions, and create new methods of understanding weather data. Working with talented programmer Rory Hering, Griffith University lecturer Jason Nelson created the weather visualiser as a prelude to future data visualization projects. Specifically, Jason and Rory are seeking interested parties to collaborate in developing a visualiser for Australian water data.

The weather visualiser lets the user choose cities from Australia, New Zealand, Canada and the United States. Those city

DISCUSSION

Part ONE: an audience outside the NMA world......exists


All,

I've spent much of the last six months exploring an audience outside
the NMA world. And damnit, there is one, a strong one. One filled with
millions of users who want to see and play with our work. Sure you expose
yourself to lots and lots of wtf?! in message boards and such. But even
in my own misdirected, blind attempts I've had much success in
getting hundreds of thousands to play with my wacked out work.

Hell..sadly I get more intelligent feedback from that outside audience then
I do on these lists. Dont misread that...I love this community and there are
heaps of damn fine and generous folks on here, but really there might be only
50 active participants.

Personally I see this as two roads. I still send work to the various calls that
crop up, but I also release my work out into the public arena via various methods.

In another e-mail I'm going to list some suggestions and if anyone wants to join
me then just send me an off list note.

cheers, Jason

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DISCUSSION

we sound like starving accountants in the desert fighting over the last few mice and edible cacti


The are many issues belting about within this new media art debate, "the domination of the conceptual", " academic/critical acceptance", "loss of fun" and on.

However, the one central and underlying ghost floating beneath nearly all these posts is audience. Some dont care about audience, some are angry about being ignore by a particular audience, and others want to change the audience.

But, what we sound like are a bunch of starving accountants in the desert fighting over
the last few mice and edible cacti. If the few hundred (being generous) of us actively making work really tried to expand our audience (or not), finding users and viewers outside these small circles, we really wouldnt care about not getting two thousand dollar grants or bother ourselves with a single essay.

I mean seriously can someone tell me why one might get 100 hits from an online
gallery's posting of artwork, while a mention on a radio station blog or landscaping site brings in thousands, or tens of thousands. This is not to criticize art centered sites, but instead to again call for us to apply some of our amazing creativity and processing and technical prowess to building a larger, more diverse audience.

And no....I am not saying we should make work targetting a wider audience, but that with the hundreds of millions of possible viewers/users, surely there are a few percentage points interested in our crazy creations.

Is one art critic worth more than a hundred plumbers?

Jason

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