neil jenkins
Since the beginning
Works in Bristol United States of America

PORTFOLIO (2)
BIO
networked technology as a focal point for (live) creative discourse, production and events. online studio and host spaces for collaborative projects

http://www.devoid.co.uk/
http://www.furtherfield.org/
http://www.furtherstudio.org/
http://www.herenorthere.org/
http://www.visitorsstudio.org/
Discussions (82) Opportunities (0) Events (1) Jobs (0)
DISCUSSION

Re: works that grab data from the Internet


first ones that spring to mind
pieces which use data from the net

media deconstruction kit, the experimental party
http://www.experimentalparty.org/mdk/

black shaols (stock market planetarium), lise autogena & joshua portway
http://www.blackshoals.net/

teleporting to an unknown state, Eduardo Kac
http://www.ekac.org/teleporting.html

pieces which use data from the network

carnivore, rsg
http://www.rhizome.org/carnivore/

panse, pall thayer
http://this.is/pallit/
http://130.208.220.190/panse/

other useful resources at
http://www.generative.net/

On 5 Sep 2004, at 00:44, andreithomaz wrote:

> hello list,
>
> I am looking for net art works that grab some data from Internet and
> process them in some way, in real time. For example, Shredder, by Mark
> Napier, and WebStalker, by I/O/D. I would like to ask you:
>
> 1) if you know works that also makes that, please, send-me the URLs;
> 2) texts about them are welcome too;
> 3) do you know if The Secret Life of Numbers
> (http://www.turbulence.org/Works/nums/index.html) is still processing
> the occurrence of the numbers in WWW or if it works with a processing
> done and finished? I think the last option is the correct, but I am
> not sure.
>
> bye,
> andrei
>
> --
> RGB Design Digital
> www.rgbdesigndigital.com.br
>
>
>
>
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DISCUSSION

Re: Neil Jenkins's Visitor's Studio


> neil was doing the visulal/sonic mix as we chatted.

i can't take the credit here - chris webb was master of the mix :)
similarly with the visitors studio app, while i'm responsible for the
programming the piece has been developed with furtherfield, with much
enthusiasm, support, assistance, advice and suggestions from marc,
ruth, chris, sim and several other regular visitors. this 'organic'
growth over the past year, together with the incredible range of
uploaded work has made the piece what it is. I hope to continue work on
the functionality as time allows and always welcome feedback - thanks
for all your kind comments jim.

DISCUSSION

Re: FW: video clip: Bush makes verbal slip


http://www.devoid.co.uk/ascii/bushism_6.8.04.htm

On 8 Aug 2004, at 01:21, Jim Andrews wrote:

>
> US President Bush confesses during terror speech:
> http://news.bbc.co.uk/1/hi/world/americas/3541706.stm
>
> wow. straight from the horse's mouth. with leaders like that, who needs
> enemies?
>
> ja

DISCUSSION

Re: Programming Survey


On 5 Aug 2004, at 20:34, Lemmy Caution wrote:

> 1.) What programming languages do you use?

6502 assembly, applescript, perl, php, actionscript, lingo (and english)

> 2.) Why did you choose the language(s) that you use,
> and how did you learn it/them?

they chose me, i realised what i wanted the computer to do and the
language of the machine or application i was using necessitated i
discover how to talk to it. learning was mostly through research, both
books , bulletin boards, email - lots of source code and helpful people

> 3.) Were you university-trained in programming or
> self-taught? What advantages and disadvantages do you
> see in this method of learning?

self-taught from my early teens, although computers were part of my
college course, learning pascal, maybe it will be useful one day..
I've generally learned what i needed in the languages i've worked with
- this focussed approach centres on the development of particular ideas
and not what the machine might be able to do. It has lots of
disadvantages, not least the bad coding, crashes, bulging bookshelves
of reference books or confusion in syntax between codes.. these are
always a bit of a distraction.. On the plus side, the structures that
develop or have to be worked in code are much clearer to me in relation
to my ideas than i think would have been possible if i'd been taught a
rigid computer programming course.

> 4.) How concerned are you with a language's political
> implications, i.e. with whether the language is open
> source or not? Why?

open source has always been important, i wouldn't know what i know
without it - sharing this knowledge is extremely important and shows an
emergent 'democracy' in networks. political implications are much more
complicated, not least that most computer languages are based on
american-english. [color for example lewis ;)] code can also be seen as
poetry and the basic manipulation of data can be achieved with
variables and subroutines in the appropriate language (eg biennale.py
- http://www.0100101110101101.org/home/biennale_py/ or carnivore
http://www.rhizome.org/carnivore/ )

> 5.) Does your choice of programming lamguage effect
> the way you approach a problem you wish to solve with
> that language?

absolutely,
and it's not a problem - it's an idea, that has to be achieved
on the other side its also a software issue unfortunately

> 6.) Did you come to New Media Art from Computer
> Science or from the Arts? Discuss the transition.

i stopped programming in later teens, got into life and came back to it
through my photographic work, so a bit of both..

> 7.) What does programming add or subtract from an art
> object? Is the artist-programmer giving up control of
> the object by coding it, or introducing more control?

depends very much on how the programming influences or is influenced by
the data it munches (and whether it is constructing or influencing the
'art object') . I prefer to work with systems that work with the user
or data it recieves to make the work, although i am equally fascinated
by the logic and control of code over this.. nina pope and karen
guthrie's island mush is a wonderful example of this, an environment
constructed in code which anyone could add to [
http://www.somewhere.org.uk/island/ ]

> 8.) Does each programming language imply an ontology?

the software specific ones do, although OOP always adds to this. the
scope of truly extensible languages is immense though -
"If you want your program to be readable, consider supplying the
argument" Larry Wall

> 9.) Have you ever dreamed in code?

no, it constantly stops me from sleepin

> 10.) Can one code art objects that produce catharsis
> in the user?

no: Eliza
yes: Wirefire

>
> =====
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> ****
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DISCUSSION

Re: Re: 'Kill the patriarch, not net art - you muppets...'


the only 'problem' is the 'dot' and the difference between 'net' and
'network'
there are oh so many rules you can tie to a 'genre'

'net' art forever

ps: can i get a tattoo done like abe's ? mail me :)

On 26 Jul 2004, at 21:08, v.grancher wrote:

> ha ha ha ha
> you may call it internet art news or web art news or whatever :-))))
>
>
> Valery
> ----- Original Message -----
> From: "trashconnection" <www@trashconnection.com>
> To: "Valery Grancher" <vgrancher@nomemory.org>; <list@rhizome.org>
> Sent: Monday, July 26, 2004 7:23 PM
> Subject: [Norton AntiSpam] Re: RHIZOME_RAW: Re: 'Kill the patriarch,
> not net
> art - you muppets...'
>
>
>> VG> A s i said net.art is term invented by some
>> VG> guy which is corresponding to one specific
>> VG> context and time which are over today.
>>
>> Over today? Today of all days I get a message called Net Art News.
>> Possibly is this discrepancy artistically demanding. Does the point
>> between 't' and 'a' make difference? Let's try to translate.
>>
>> (net.art is over today) News
>>
>> Looks like somebody's ironic project I participate in.
>> I feel a bit ****ed over.
>>
>>
>>
>
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