8 New Works on furtherfield...

Nov. 12, 2002

Type: discussion

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Blank8 New works featured & hosted on furtherfield.org

http://www.furtherfield.org

[Explorations & discoveries of non-singular Net creativity]

[Sailing & White Mice]
Two docu/info/diary/performative pieces by 'Joseph & Donna McElroy'. 'Saili=
ng' is JavaScript work incorporating photographic images that change each t=
ime you click on the page. Featuring interviews by people talking about the=
ir experience and perceptions on life and ways of living, life in New York,=
working and living on the River. 'White Mice' is a JavaScript work with se=
ries of automated images. Accompanied by a verbal-reflection about the sens=
ory experience of the mouth, its flavours, the kiss and the memory. Discove=
r the performance, fun and functionality in the works of this corporate, dy=
namic duo.
http://www.furtherfield.org/jfdmcelroy/sailing_mice/index.html

[One among 400,000]
A personal interactive document by 'Ruth Catlow' of the protest that took p=
lace in London, UK on September 28th 2002 to stop the war against Iraq. 'I =
am an artist but on this day I was one among 400,000 (or there abouts) prot=
esters. It seems more relevant these days, for me as an artist to jump in w=
ith both feet, to be in the middle of a crowd of human beings when so much =
of our experience of the world is so passive and mediated by TV and film'. =
This piece uses javascripts and is accompanied by a flash soundtrack made i=
n collaboration with 'Ouch Those Monkeys'
http://www.furtherfield.org/rcatlow/stop/index.html

[Art or Action]
'Joy Garnett's' Bomb Project (Reviewed by Lewis Lacook). 'To say that Joy G=
arnett's Bomb Project is monumental would be an understatement. To say that=
it's a necessary reminder of the power unleashed at the end of World War I=
I, and of the power the whole world cringed under during the Cold War–that=
would be more like it. And yet there's more going on here than activism (a=
s if that weren't enough)'.
http://www.furtherfield.org/crit/docs/bomb_project.html

[Tales from a Corporate Crib]
Nick Fry's Literary consequences of corporate life: anecdote, correspondenc=
e, image and documentation produced from within the fold of a corporate wor=
king environment. 'Graham arrived when I was back at my desk - he hit me on=
the head with a bacon-avocado-an-mayonaisse baguette. It was a nervous pok=
ey little assault - a compromise between not hitting me too hard so as not =
to upset me and not disturbing the sodden limb of lard smearing the inside =
of its plastic sheath'.
http://www.furtherfield.org/nfry/crib.html
Other writings by Nick Fry - http://www.furtherfield.org/nfry/index.html

[Goat Boy 2]
Many remember 'micki Tschur's' first self exploratory nature fest & her man=
y encounters in the Alps, and her meeting with the Goat Boy. At last, you c=
an now visit & experience the sequel. Does she meet the Goat Boy again? We'=
ll see…a comic strip that leaves you wondering whether these hot naughty =
encounters were real or fantasies. We suspect they were real, what do you t=
hink? http://www.furtherfield.org/mtschur/goatboy2/index.htm

[Transubstance]
3 recent works exploring the less disenchanted states of being. In one of h=
er works 'Miranda Matthews' starts to locate the migrant 'soul' of myth & m=
agic, via performance, installation & sculpture. With 'Seal Suits' I decide=
d to locate my own seal spirit and make my own seal skin. The 'seal suit' i=
s made from neoprene, which is used to make wet suits. "It feels like an ex=
tra layer of the self. The silkies are creatures of Celtic myth, who have a=
hidden seal identity. The tale goes that women (and sometimes men) would h=
ide their seal skins in a place known only to themselves. When tired of the=
ir ordinary existence, they would slip into their seal skins and swim off i=
nto the oceans". http://www.furtherfield.org/mmatthews/transubstance/index.=
html

[WOWM.org]
'Wrapping Our Warped Minds' are visual and multimedia artists; exploring im=
aginative visual-scapes that users can interact with. You can either be the=
'VJ' and change what you are seeing before your eyes, as pixels, code and =
images, shift and glide like a 'virtual contemporary Joseph Albers' on your=
screen. Or the 'DJ-sound mixer' changing the sound levels of the music on =
each of these sound/viz- scapes'. The beauty of it is, that there is an int=
imacy in the way it hangs around floating, unbothered about whether someone=
is interacting or not, although participants are encouraged to create new =
moods using the phasers supplied. http://www.furtherfield.org/wowm/pictures=
.html

[Drawing Conclusions]
Catherine Daly has created a poetic experiment in response to old school bo=
ok exercises in perception – without the pages, poems from the series have=
also been featured at xStream and Delirium. http://www.furtherfield.org/cd=
aly/drawing.html

[note]
All contributors on furtherfield can viewed by this page…
http://www.furtherfield.org/contributors.html

[what are we & do?]
Furtherfield is an online platform for the creation, promotion, and archivi=
ng of new work for public viewing and interaction. Furtherfield collaborate=
s with independent visual artists, digital/net artists, writers, critical t=
hinkers, musicians and noisemakers with a special focus on work developed a=
nd produced outside the recognised institutional support structures. We exp=
lore new and imaginative strategies for communicating ideas and issues in a=
range of digital & terrestrial media contexts.

Furtherfield's activities focus on presenting works online and organising g=
lobal, contributory projects, which exist simultaneously on the Internet, t=
he streets and public venues. Liberating our imaginations from specializati=
on.

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<DIV>
8 New works featured =
&
hosted on furtherfield.org
<A href="http://www.furtherfield.org">http://www.furtherfield.org</A>

[Explorations & discoverie=
s of
non-singular Net creativity]

 [Sailing & White
Mice] Two docu/info/diary/performa=
tive
pieces by 'Joseph & Donna McElroy'. 'Sailing' is JavaScript work
incorporating photographic images that change each time you click on the pa=
ge.
Featuring interviews by people talking about their experience and perceptio=
ns on
life and ways of living, life in New York, working and living on the River.=

'White Mice' is a JavaScript work with series of automated images. Accompan=
ied
by a verbal-reflection about the sensory experience of the mouth, its flavo=
urs,
the kiss and the memory. Discover the performance, fun and functionality in=
the
works of this corporate, dynamic duo. <A
href="http://www.furtherfield.org/jfdmcelroy/sailing_mice/index.html"><FO=
NT
face="Courier New">http://www.furtherfield.org/jfdmcelroy/sailing_mice/in=
dex.html</A>

[One among 400,000] =
A personal interactive document by 'Ruth Catlow' of th=
e
protest that took place in London, UK on September 28th 2002 to stop the wa=
r
against Iraq. 'I am an artist but on this day I was one among 400,000 (or t=
here
abouts) protesters. It seems more relevant these days, for me as an artist =
to
jump in with both feet, to be in the middle of a crowd of human beings when=
so
much of our experience of the world is so passive and mediated by TV and fi=
lm'.
This piece uses javascripts and is accompanied by a flash soundtrack made i=
n
collaboration with 'Ouch Those Monkeys' <A
href="http://www.furtherfield.org/rcatlow/stop/index.html">http://www.fur=
therfield.org/rcatlow/stop/index.html</A> [Art
or Action] 'Joy Garnett's' Bomb P=
roject
(Reviewed by Lewis Lacook). 'To say that Joy Garnett's Bomb Project is
monumental would be an understatement. To say that it's a necessary reminde=
r of
the power unleashed at the end of World War II, and of the power the whole =
world
cringed under during the Cold War–that would be more like it. And yet ther=
e's
more going on here than activism (as if that weren't enough)'. <A=

href="http://www.furtherfield.org/crit/docs/bomb_project.html">http://www.furtherfield.org/crit/docs/bomb_project.htm=
l</A>

[Tales from a Corporate
Crib] Nick Fry's Literary conseque=
nces of
corporate life: anecdote, correspondence, image and documentation produced =
from
within the fold of a corporate working environment. 'Graham arrived when I =
was
back at my desk - he hit me on the head with a bacon-avocado-an-mayonaisse=

baguette. It was a nervous pokey little assault - a compromise between not=

hitting me too hard so as not to upset me and not disturbing the sodden lim=
b of
lard smearing the inside of its plastic sheath'. <A
href="http://www.furtherfield.org/nfry/crib.html">http://www.furtherfield.org/nfry/crib.html</A><=
BR>Other writings by Nick Fry - <A
href="http://www.furtherfield.org/nfry/index.html">http://www.furtherfield.org/nfry/index.html</A>=
 
[Goat Boy 2] <FO=
NT
face="Courier New">Many remember 'micki Tschur's' first self exploratory =
nature
fest & her many encounters in the Alps, and her meeting with the Goat B=
oy.
At last, you can now visit & experience the sequel. Does she meet the G=
oat
Boy again? We'll see…a comic strip that leaves you wondering whether thes=
e hot
naughty encounters were real or fantasies. We suspect they were real, what =
do
you think? <A
href="http://www.furtherfield.org/mtschur/goatboy2/index.htm">http://www.=
furtherfield.org/mtschur/goatboy2/index.htm</A> 


[Transubstance] =
3 recent works exploring the less disenchanted states =
of
being. In one of her works 'Miranda Matthews' starts to locate the migrant=

'soul' of myth & magic, via performance, installation & sculpture. =
With
'Seal Suits' I decided to locate my own seal spirit and make my own seal sk=
in.
The 'seal suit' is made from neoprene, which is used to make wet suits. "It=

feels like an extra layer of the self. The silkies are creatures of Celtic =
myth,
who have a hidden seal identity. The tale goes that women (and sometimes me=
n)
would hide their seal skins in a place known only to themselves. When tired=
of
their ordinary existence, they would slip into their seal skins and swim of=
f
into the oceans".
http://www.furtherfield.org/mmatthews/transubstance/index.html

 [WOWM.org]<FONT=

face="Courier New"> 'Wrapping Our W=
arped
Minds' are visual and multimedia artists; exploring imaginative visual-scap=
es
that users can interact with. You can either be the 'VJ' and change what yo=
u are
seeing before your eyes, as pixels, code and images, shift and glide like a=

'virtual contemporary Joseph Albers' on your screen. Or the 'DJ-sound mixer=
'
changing the sound levels of the music on each of these sound/viz- scapes'.=
The
beauty of it is, that there is an intimacy in the way it hangs around float=
ing,
unbothered about whether someone is interacting or not, although participan=
ts
are encouraged to create new moods using the phasers supplied. <FONT=

face="Courier New"><A
href="http://www.furtherfield.org/wowm/pictures.html">http://www.furtherf=
ield.org/wowm/pictures.html</A> 

 [Drawing
Conclusions] Catherine Daly has cr=
eated a
poetic experiment in response to old school book exercises in perception –=

without the pages, poems from the series have also been featured at xStream=
and
Delirium. <A
href="http://www.furtherfield.org/cdaly/drawing.html">http://www.furtherf=
ield.org/cdaly/drawing.html</A>

 [note] <FONT=

face="Courier New">All contributors on furtherfield can viewed by this
page… <A
href="http://www.furtherfield.org/contributors.html">http://www.furtherfi=
eld.org/contributors.html</A> 

 [what are we &
do?] Furtherfield is an online pla=
tform
for the creation, promotion, and archiving of new work for public viewing a=
nd
interaction. Furtherfield collaborates with independent visual artists,
digital/net artists, writers, critical thinkers, musicians and noisemakers =
with
a special focus on work developed and produced outside the recognised
institutional support structures. We explore new and imaginative strategies=
for
communicating ideas and issues in a range of digital & terrestrial medi=
a
contexts.

Furtherfield's activities focu=
s on
presenting works online and organising global, contributory projects, which=

exist simultaneously on the Internet, the streets and public venues. Libera=
ting
our imaginations from specialization. 
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