Jim Andrews
Since the beginning
Works in Victoria Canada

PORTFOLIO (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
Discussions (847) Opportunities (2) Events (14) Jobs (0)
DISCUSSION

Antoine Schmitt (France) and the entity in action


Concerning the programming and creation of online entities, the work of Antoine Schmidt (Paris)
is very notable.

"Avec determination" at http://www.gratin.org/as/avecdetermination is a minimalist study of
lively motion via the programmed. Depending on the mood you catch it in, you might get quite a
show.

These works are more particular than the sodaplay.com algorithms. And they are more toward human
motion, even dance, if you catch them at the right moments, than the creatures at sodaplay.com,
interesting as they are.

Almost down to the code except for the few graphical lines involved. I imagine that there are at
least several hundred more lines of code for each of the simple graphical lines. The emphasis
here is not so much on software as art. But Schmidt is obviously a very knowledgeable
programmer. He also has written an Xtra for Director called asFFT (fast fourier transform) that
allows Director pieces to respond to music you play through winamp or whatever.

Once you're finished, do have a read of Antoine's statement about "avec determination". The
final paragraph is as follows:

"For each of these creatures, I try to approach a certain essence of being. A mode of being of
different quality for each of them. And for this, I concentrate on their dynamics, their
movement, on the shapes that take their motivation in their reality. The function of the image
is to enable us to apprehend their mode of being. The interaction itself is only a minimal link
between their reality and ours. For each of these creatures, its presence, if it manifests
itself, derives from a subtle relationship between the motivation and the shapes and forces of
the randomness, of the body and of the universe."

He is passionate and devoted to this mixture of philosophy and lively entified art.
http://www.gratin.org/as/avecdetermination was, I believe, done in 2000. I look forward to
seeing what other entities he is hatching.

His site is http://www.gratin.org/as . One may note his generosity via following the abbreviated
link: http://www.gratin.org ; this leads not to Antoine's own work but to a fascinating
collection of links "dedicated to the forms of art using algorithms as a first class matter. So
actual and yet so classical."

You want passionate high brow French computer art? This is the place.

ja

DISCUSSION

Napier's King Kong and Durieu's Giraffe and Oeil Complex


Have been playing with Mark Napier's "King Kong" piece at http://potatoland.org/solid/kingkong .

I am very fond of this piece. Some things I like about it:

The big picture would seem to allude to 9/11. This is by no means uncommon. But this piece is
particular. The reference is indirect. And the statement is somewhat cryptic in some ways but
clear in others: this building springs back; you can't destroy it. Napier is a New Yorker and I
imagine he must be proud of his home city.

The building is sort of like a building but also sort of like a person. If you play with it for
a while, that emerges.

There's something about the physics that gives the building an impression of size in some
circumstances, such as when it sways. As though it were quite large. At other times, the physics
seems more like the human body.

And it is a lot of fun to play with. The responsive quality is extrordinarily strong. Lots of
character. You can feel the material. And you can fling that thing around from side to side like
crazy. Or you can be more delicate with it and see just how much it can stand before it tips. Or
give it a helping hand up if it starts to tip. It's at this point that it behaves like a human
body quite dramatically, as though it were a body whose arms were tied. And you can try to
scrunch it down, at which point its internal 'strength' becomes apparent (as opposed to its
flexibility).

I never found myself wishing it were something other than wireframe.

Indeed the wireframe gives the impression of artistic distillation down to the rub. And the
geometric quality of the piece goes with the other pieces in "Solid" at
http://potatoland.org/solid .

The name of the piece, "King Kong" is funny. Because we are King Kong. The title is only
indicated by an alt tag and in the URL. Very minimally indicated. Like the pieces themselves are
of a minimal aesthetic.

The background of "King Kong" is quietly important to the piece. Think of the backgrounds you
see in other such pieces. This is dynamic and provides a sense of the building apart from
wireframe. But the red reminds me of 9/11, also. However, it is dynamic, constantly changing.
And, again, it goes with the other pieces in http://potatoland.org/solid .

Here we have some very successful 3D art. What other successful 3D art pieces can you think of
on the Web that involve 'living entities'? Frederic Durieu's giraffes are very popular at
http://www.lecielestbleu.com/html/main_lceb.htm . They bear relation to Napier's "King Kong". My
favorite piece by Durieu is called "Oeil Complex" at
http://www.lecielestbleu.com/media/oeilcomplexframe.htm . I find this piece much more highly
charged and intelligent, vivid as a creature, responsive as a program, and profound as an
artistic realization than his giraffes. But the giraffes are popular. Cute. Etc.

Just as Napier's "King Kong" reminds one of 9/11, Durieu's Oeil Complex reminds one of the
Platonic Solids. Durieu's creature emerges as a meditation on the solids and is a kind of
improbable Platonism from the realm of the forms, but oh so partially human. Those eyes. To me,
this piece is magnificent. Art as idea entity. Art as animism. And certainly Durieu is a master
of 'imaging Lingo'.

"Oeil Complex" may be 'difficult' in some ways: the nature of its meditation on the Platonic
solids and the role of mathematics and programming--and the image--in art is perhaps not for
those squeamish on the matter.

What we see in these pieces is that it isn't so much the verisimilitude or detail of the 3D that
makes it interesting as the responsive physics of the body, the creature, the entity, the living
thing within the space. And, of course, at least as importantly, the richness of the concept and
situation. The 'situation' of Napier's piece is 9/11, a building, and a body. The 'situation' of
Durieu's piece is the monitor on your table, the computer hooked up to it, and the
transformation of idea to entity.

ja

DISCUSSION

final issue of theremediproject.com


The last issue of The Remedi Project is now online at www.theremediproject.com .

I have admired that publication since its inception.

Some of what I like about it:

Rather than featuring the work of 999999999999999999 artists, each issue features 4-6 works. I
cannot stand to see editors reduce the hard work of artists to anonymity and invisibility amidst
9999999999999 other works. In some pubs, I know that is not the intent of the editors. But it is
the result, nonetheless. Just too much for the audience to be able to genuinely appreciate the
individual work. It may serve the editors. But it really doesn't serve the artist or the
audience. Unless there are a variety of interfaces into the work, like I note Rhizome is
attempting with the art base. That has some poetential.

There are interviews done with the artists in The Remedi Project.

The interface is competant and knowlegeable.

He says at the outset "no multitasking".

He was one of the first to go with a fullscreen interface.

When the viewer launches a work, the remedi Flash closes to give the work all the juice.

On a different but related topic, I object when venues that do not pay demand exclusivity of
publication. They should be worried about whether they provide suitable context for the work,
and interviews of the artists, and other such things that contexualize the work in an
interesting way, not whether they can hog-tie the artist into exclusivity without paying them.

If they do as good a job as Josh Ulm did with The Remedi Project, then people will flock to
their publication regardless of wherever else it is published. The most hits I ever got in a
month long period on my site was when my work was published in The Remedi Project. And he didn't
demand exclusivity.

I respect Josh's work as an editor and curator for these reasons. And I think his work has a lot
to teach others.

I am sorry to see the end of The Remedi Project. But, while that's true, I also recognize that
such projects often have such a life-span because they need to be fueled by curatorial energy,
and 5 years of it is pretty good for one project. Time for Josh to move on, apparently.

All the very best to him, for he has curated one of the very best projects on the Web for five
years. He has respected the work of the artists and contextualized their work in a useful and
high energy way rather than hog tying them or burying them under 9999999999999 others to the
greater glory of the triumphant editors standing atop the heap.

And The Remedi Project has been a venue that has constantly published good web.art; he has
advanced the art in that sense, also. Josh earned the name of his project. It has been a remedy
in the example it sets concerning curation on the Web.

ja
www.vispo.com

DISCUSSION

Re: Raoul Unplugged


If they're telling you to cease and desist, you must be doing something right, Brian. I
certainly enjoyed them. Why don't you let them make you famous? Then Matt Mirapaul can write
about you, and you can do one on that article.

ja

> I've been given a cease and desist from the New York Times regarding the use
> of their images and homepage design and the use of their advertiser's images
> in my Raoul Vaneigem Meets the Talking Spiderheads from Mars series.

DISCUSSION

Re: Doh!


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Personally, I have no problem with the USA unilaterally providing small
weapons to Iraqi dissident groups who wish to kill Saddam or his henchmen. I
have no problem with a unilaterally financed (mercenary) assassination
squad. No bombing from the air, no invasion, just a murderous strike at the
head of the snake choking the Iraqi people and threatening the
neighbourhood. However, I would restrain such a liquidation for the moment,
to give the UN Security Council the opportunity to demonstrate its will &
intelligence, or lack thereof. If it is ineffective, then I would support
focussed strikes at the head of the snake, even if they were unilateral by
the USA.

If the USA unilaterally acts in the way you describe, it is the end of USA
global power. However dangerous Hussein is, international law is more
important. International vigilantism is no more preferable than vigilantism
on a smaller scale.

In the meantime, the credible threats by the USA has been effective in
getting the UN Security Council off its ass, shuck its ennui, and stiffen
its back. If it does that, we can thank the USA for giving the the UN the
spine it has lacked.

The UN has the power that other countries of the world give it. The same
is true of nations themselves.

And the same is true of the rule of law on a smaller scale: the rule of
law in cities, amongst people, is not by force of the police; it is by
consent of the people or it is out the window. Even in Canada, where I am
from also.

ja

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<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px soli=
d; MARGIN-RIGHT: 0px">
<DIV><FONT face="Times New Roman">Personally, I have no problem with th=
e USA
unilaterally providing small weapons to Iraqi dissident groups who wish t=
o
kill Saddam or his henchmen. I have no problem with a unilaterally financ=
ed
(mercenary) assassination squad. No bombing from the air, no invasion, ju=
st a
murderous strike at the head of the snake choking the Iraqi people and
threatening the neighbourhood. However, I would restrain such a liquidati=
on
for the moment, to give the UN Security Council the opportunity to demons=
trate
its will &amp; intelligence, or lack thereof. If it is ineffective, then =
I
would support focussed strikes at the head of the snake, even if they wer=
e
unilateral by the USA.</FONT><FONT face=Arial><SPAN
class=160140823-27102002>&nbsp;</SPAN></FONT></DIV>
<DIV><FONT face=Arial><SPAN
class=160140823-27102002></SPAN></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial><SPAN class=160140823-27102002><FONT
face="Times New Roman" color=#0000ff>If the USA unilaterally acts in =
the way
you describe, it is the end of USA global power. </FONT><FONT
face="Times New Roman" color=#0000ff>However dangerous Hussein is,
international law is more important. International vigilantism is no more=

preferable than vigilantism on a smaller scale.</FONT></SPAN></FONT></DIV>
<DIV><FONT face="Times New Roman"></FONT>&nbsp;</DIV>
<DIV><FONT face="Times New Roman">In the meantime, the credible threats=
by the
USA has been effective in getting the UN Security Council off its ass, sh=
uck
its ennui, and stiffen its back. If it does that, we can thank the USA fo=
r
giving the the UN the spine it has lacked.</FONT><FONT face=Arial><SPAN=

class=160140823-27102002>&nbsp;</SPAN></FONT></DIV>
<DIV><FONT face=Arial><SPAN
class=160140823-27102002></SPAN></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial><SPAN class=160140823-27102002><FONT
face="Times New Roman" color=#0000ff>The UN has the power that other =
countries
of the world give it. The same is true of nations
themselves.</FONT>&nbsp;</SPAN></FONT></DIV>
<DIV><FONT face="Times New Roman" color=#0000ff><SPAN
class=160140823-27102002></SPAN></FONT>&nbsp;</DIV>
<DIV><FONT face="Times New Roman" color=#0000ff><SPAN
class=160140823-27102002>And the same is true of the rule of law on a s=
maller
scale: the rule of law in cities, amongst people, is not by force of the=

police; it is by consent of the people or it is out the window. Even in=

Canada, where I am from also.</SPAN></FONT></DIV>
<DIV><FONT face="Times New Roman" color=#0000ff><SPAN
class=160140823-27102002></SPAN></FONT>&nbsp;</DIV>
<DIV><FONT face="Times New Roman" color=#0000ff><SPAN
class=160140823-27102002>ja</SPAN></FONT></DIV></BLOCKQUOTE></BODY></HT=
ML>

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