Xeros and Zhones
From the high-brow Argentinian art magazine, Revista TDI, comes "El Art de Los Ceros y Unos" , an article introducing the Buenos Aires art world to so-called net art (warning: the download is just under 50MB and all you get is two design-heavy pages in pdf format , in Spanish!, but the cool graphics may be worth it to some).
There's actually a budding net art scene in Argentina and it's driven by narrative projects from artists like Belen Gache and Roberto Aguirrezabala.
DIY new media narrative production and distribution is on the verge of exploding. Similar to Web 2.0, Storyworlds 2.0 promises to be driven less by technology and more by artists telling stories with the aid of easily accessible advanced media equipment. This is a good thing, and somehow reminds me of some the advances made in narrative-oriented net art in the '90s.
We here at Professor VJ work hard at avoiding much of the techno-theory that pervades new media studies these days (and when we can't avoid it, we tend to diss it as creatively as possible in our spontaneous artist poetics). Even David Lynch gets it (and he's not a Deleuze scholar):
There's actually a budding net art scene in Argentina and it's driven by narrative projects from artists like Belen Gache and Roberto Aguirrezabala.
DIY new media narrative production and distribution is on the verge of exploding. Similar to Web 2.0, Storyworlds 2.0 promises to be driven less by technology and more by artists telling stories with the aid of easily accessible advanced media equipment. This is a good thing, and somehow reminds me of some the advances made in narrative-oriented net art in the '90s.
We here at Professor VJ work hard at avoiding much of the techno-theory that pervades new media studies these days (and when we can't avoid it, we tend to diss it as creatively as possible in our spontaneous artist poetics). Even David Lynch gets it (and he's not a Deleuze scholar):
MM: How did you end up using video?This not going "back to that dinosaur film way of going" became super-apparent to me about twelve years ago when I was first reconfiguring GRAMMATRON for the 14.4 baud modem WWW. It's also what made the experience of shooting in Shanghai in November 2006 easy yet (experientially) intense.
DL: I started doing these experiments for my Website and I shot them on the [Sony] DSR-PD150, which is not high-res DV. I would get an idea for a scene or something and I would shoot it and then I started getting more ideas and I saw how these scenes started relating one to another, realizing that all along I’d been working on something. So now I’m committed to the Sony PD150, which I loved by then. We did tests from DV to film and they looked beautiful to me, really amazingly good. I was just a happy camper. I will not go back to that dinosaur film way of going.
Metadata: film, David Lynch, poetry, net art, GRAMMATRON, Argentina, Shanghai
posted by Professor VJ at 5:35 PM
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