Saturday, 13 December 2008

London Burning

I just posted this GIF on tumblr ... but it's just too beautiful not to post everywhere.

(from the commons)

Wednesday, 10 December 2008

LM's Dynamic Web Links at lalBLOG!

In Lorna Mills' final class post she encouraged everybody to save all the links she posted throughout the term since the page wasn't going to last forever. This course has been a tremendous resource for me and I didn't want to lose these great examples of net art, "hacking" tutorials and web-building tools, and so I have taken it upon myself to do just that.

Now, I could have just as easily saved all the html files to my computer (which, in hindsight, seems like a much less obsessive or creepy option), but instead have opted for compiling all the links into an easily accessible four blog posts. I've post-dated them to the beginning of the month so as to not overtake the front page, and they've been given their own category tag, so they can easily be found.

See them all here.


Comment on my inability to come up with my own original content here.

Tuesday, 9 December 2008


Changed the blog template. Pretty sure it's ug, but it will be more functional when it comes to posting massive images. Sweet.

And to celebrate:

Monday, 8 December 2008


It's finally* been long enough since the 90s that they can be easily be identifiable by certain key features:

- Obnoxious homepages that are perpetually under construction with illegible text on busy tiled backgrounds, littered with counters and an inexplicably high number of "awards," and "hidden" Easter eggs.
- References to The Simpsons, Seinfeld, The X-Files, Pulp Fiction, Pam Anderson, etc.
- Excessive use of the word "Awesome."
- General excitement or optimism when it comes to the World Wide Web.
- Referring to the Internet as "the World Wide Web."
- Netscape

Jason's Awesome WWW Home Page!!!!

*This is the wrong choice of words, because I'm pretty sure these "features" were well known a few years back, but it sounds more dramatic and exciting than just "check out this crazy web page."

(Link via cory_arcangel's Delicious)

Sunday, 7 December 2008

The chicken's head doesn't move!!

Vernacular Web 2

Olia Lialina's Vernacular Web 2 is a really nice look at how Web 2.0 has changed the relationship between amateur-and-web and professional-and-web, asking: "how does the Web look now, when it’s no longer seen as the technology of the future, when it’s intertwined with our daily lives and filled by people who are not excited by the mere fact of its existence?"

Although I'm disappointed with the brief acknowledgment of role of cats in today's web, I did really enjoy the extensive investigation of glitter graphics (there is a great page comparing dynamic GIFs with glitter-fied GIFs of the same subject matter).

A good read.

(via psflannery's delicious)

Monday, 1 December 2008

Links Collection from Lorna Mill's Class on Dynamic Web Content for Artists (Pt. 1)

Originally Posted Sept-Nov '08:

Class 1

From the intro:
Dragan Espenschied quote:

From: Gravity
"The pressure to be up to date with technology appears insane to me. It doesn't bring any more beauty or pleasure. Instead it creates things that are hard to understand and impossible to handle. So nobody can actually experience them beyond reading the artist's concept."

(quite rich considering that it comes from Rhizome) ([eta] I'm mocking Rhizome, not Dragan Espenschied)

Tom Moody Quote:

“Artists, too, have to compete with real world content far more captivating than anything they could come up with, which the Internet effectively gathers all in one place (sneezing Pandas, etc). Two possible responses are (1) to continually rise above it through aesthetic and conceptual framing and posturing or (2) to disappear into it and trust the viewer to ultimately sort out what's going on. The Web is a consumer's medium, not a producer's, so the artist is inexorably led to consumption as a "practice." The degree of criticality can only be inferred, not implied."
Non-art Sites:

Image Scrapers:


YouTube and Quicktime Samplers:
Petra Cortright - petra-cortrights-webcam-video
Paul Slocum - You're Not My Father
Oliver Laric - aircondition video; under the bridge
Javier Morales - guitar solo
Javier Morales - rgb chord
Aleksandra Domanovic -


VVork -

The Archive of Simpleposie -

Nasty Nets Archive -

Chris Ashley -

20 Years Ago Today -

Class 2


hackers vs. defaults


Corporate blog software,
myspace etc.

Web Building Resources:

Class 3

Using Marquees:

More HTML references:

Experimenting with placing images and/or text in remixes:

On GIFs:

Using GIFs:

YouTube Hacks:


Links Collection from Lorna Mill's Class on Dynamic Web Content for Artists (Pt. 2)

Originally Posted Sept-Nov '08:

Class 4

Collection Strategies: bloom)

Search Methods and Aids:

Creative Use of Tables:



Class 5

More Collections:

More Marquees:

YouTube Ripping:

Screen Captures and GIFs:


Class 6

More Collections:

Other Types of Collections:

Surf Clubs:

L.M. on Surf Clubs:
I find everyone's work to be more alive in the surf club, probably because even though a surf club is still a controlled context, it seems truer to the web than most pristinely designed individual artists' sites. I also noticed that surf clubs don't function that differently than the traditional artists' exhibiting collectives that we like so much here. Unmoderated by curators, and a variety of other gatekeepers and the artists end up driving it themselves, to mixed results, but when it's good, it's very good.
Marisa Olsen on Surf Clubs:

Class 7

Memes and Porn (and other disturbing things): (more by Miklos Legrady)

Stereographic GIFs:

Rippling Water GIFs:

Lo-Fi Image Editing:

Addendum: (stereo imagery) (free art)

Links Collection from Lorna Mill's Class on Dynamic Web Content for Artists (Pt. 3)

Originally Posted Sept-Nov '08:

Class 8

Using Paint Programmes: via


On Collections:

Animated GIFs:

On Dithering:

Class 9

Examples of Good (and bad) Reasons for Doing Things:,

Class 10

More Animated GIFs:,,,

Joe McKay's list of what artists do with the web (abbreviated):
1. As a place where artists promote their “real world” work.
The site acts as a slide sheet and resume for self promotion. [in case you haven't noticed, this is most definitely NOT what this class is about, you don't take a printmaking course to print exhibition invitations, or an art history course to write up your own C/V]

2. The site acts like a more traditional "white space" gallery.
Harwood - Mongrel Tate,,

3. Where the art starts offline but there is a web component that's important to reach the intended audience.

4. where artist use the medium itself to mess with the ideas of what the internet should be.

5. where artists use social networking / web 2.0 tools and the culture of digital society itself as a medium for making art.
Tom moody, Double Happiness, Loshadka, nasty nets

6. People who never intended to make art, but it has "become" art over time, or some of us artists consider it art. [Joe is some of us]
All Your Base, Fensler Films

Recycle it article by Ed Halter lecture by Guthrie Lonergan

Flash Work:

Class 11

Scrolling Devices:,+boling,+espenschied,

Class 12

A few links from John Michael Boling posting on Rhizome:

Links to Good Things:

A Feast of GIFs:

YouTube Colours:

Class 14

Some Clever Uses for Marquees: (source)

And Some for Frames (and scrolling):

More Animated GIFs:

Words of Wisdom:
Think about how you use your white-space (backgrounds).

Links Collection from Lorna Mill's Class on Dynamic Web Content for Artists (Pt. 4)

Originally Posted Sept-Nov '08:

Class 15

Daniel Barrow's Emoticons.


Some links from their blog courtesy of Tom Moody:

Class 16

YouTube Art:

Nice Use of Video/Quicktime:

Misc. Links:

JM Boling: from

Nice tumblr Collection:

Some Flash:

Class 17

Dragan Espenschied:

Class 18

Petra Cortright on Vimeo:
666 Smielyz
cats spirt spsit spit

Nice (uses of video and/or animation):

Using Video:,,,,

Great Examples of Quick Time:

On Using Video Online:,2817,2330990,00.asp

Class 19

Joe McKay's Foundations of American Cyber-Culture at UC Berkeley (ALH84001,0)

Class 20 (click words > Grass) (click Internet Overexposed)


(intended for the class, but applicable to everybody)

Class 21

On Fair Use and Copyright:

Tom Moody's Optidisk on the WWW:

Michael Geist (for current Canadian copyright laws)

The ecstasy of influence: A plagiarism by Jonathan Lethem
Artists and writers—and our advocates, our guilds and agents—too often subscribe to implicit claims of originality that do injury to these truths. And we too often, as hucksters and bean counters in the tiny enterprises of our selves, act to spite the gift portion of our privileged roles. People live differently who treat a portion of their wealth as a gift. If we devalue and obscure the gift-economy function of our art practices, we turn our works into nothing more than advertisements for themselves. We may console ourselves that our lust for subsidiary rights in virtual perpetuity is some heroic counter to rapacious corporate interests. But the truth is that with artists pulling on one side and corporations pulling on the other, the loser is the collective public imagination from which we were nourished in the first place, and whose existence as the ultimate repository of our offerings makes the work worth doing in the first place.

Class 22

Copyleft (via Schwarz)

Early Net Art:
early net art

Brilliant use of 3D graphic glitches:


Class 23

more links:

Class 24 (last class)

From, (Sally McKay's comments on Mouchette)

Sunday, 30 November 2008

Artists with Computers

A really interesting post by Tom Moody looking at the differences between "new media" artists and "artists with computers" in the context of a previous post on "art photography" and "artists with cameras":

The latter care about their laptops as much as Cindy Sherman cared about her camera. Necessary mechanical skills can be learned but the habits accompanying those skills need to be unlearned. Also, artists may not always and at all times be "with computers"--it's a tool to be picked up and put down as needed.

New media suggests a respect for hardware & software and belief in their newness, something artists with computers don't care about. New media involves a finicky devotion to programming and process, whereas artists with computers are bulls in the Apple Shop. New media artists tend to germinate in design or media arts programs whereas artists with computers incline to studio arts backgrounds or autodidacticism.

I'm wondering, though, if maybe the distinction has a bit to do with how seriously one takes the medium, or whether or not the medium is pushed to the point that it becomes the subject of the work. If this is the case, is the reason why "new media" artists have so much difficulty with "artists with computers" because the artists don't pay enough respect to the technology? Are "artists with computers" just "new media" noobs?

Thursday, 27 November 2008

Monday, 24 November 2008

Best use of Blingee

Olia Lialina, Tree Blingee Masterpieces (2007)


INFOpruner, Spirit Surfers, I Love You (2008)

Lorna Mills & Sally McKay, Images of the new AGO (2008)

Cody Filardi, Food Bling (2008)

Abigail Lloyd, Blows, Untitled Blingees (2008)

Friday, 21 November 2008

Controlled Optimism

Some bugs have been fixed.

(Found text)

Monday, 17 November 2008


Images of the new AGO filtered through Blingee. Thank you Lorna Mills & Sally McKay!

I find the bling helps me really experience the excitement of Frank Gehry's contribution from so far away.

Wednesday, 12 November 2008

Monday, 10 November 2008

Saturday, 8 November 2008

Digital Pog Bloggin' - Not so Old Skool after all!

A heads up was given to me by Tom Moody about Michael Bell-Smith's inclusion of his Digital Pog page during his presentation at the Montage: Unmonumental Online talk which took place early this year. Coincidentally, only a couple days ago, Rhizome put up the entire panel discussion on Vimeo - I'm reposting Michael's talk here.

It was nice to see him get a little more into his rationale behind this project, as there isn't that much on his pog page (it doesn't really have to be, but it's interesting): the parts about the pogs being not really for game play, but as collectible aesthetic "objects;" their "web-ring"-like function that brings various people interested in web art together, introducing them to other artists and individuals that are making interesting things and that they may never have seen otherwise.

I don't know much about the psychology of collection, but there is always something attractive about the collectible and pleasurable about the display of collections - huge pieces of furniture have been designed for ages simply for the display of collectibles, and I'm sure many people remember how Web 1.0 homepages were often littered with sprites depicting various things, characters, etc. (which also, incidentally, served as a link advertising your own homepage).

I think the interesting thing, though, is how it brings this practice to the "art" level or to "art" status. So amongst all the image bookmarking sites (which in effect are art collections), one can still have small images that can easily - and intentionally - be collected and displayed online; one could go along collecting tens of Naruto avatars, or collect works of art by actual artists (though the feat of the former will never go unappreciated). But it's not even as serious as that - they're fun, creative, original, clever ...

Hmmm ... to be continued, I think.

Wednesday, 5 November 2008

Saturday, 1 November 2008

Old Skool! - Some Digital Pog Bloggin'

Two years has never seemed so long as it has since delving into the world of web art. Something that was new and exciting two years ago is now old hat, passé - been there ... DONE that - but at least it means that, for a "noob," there's lots of stuff to uncover and rediscover. Among those things, for me at least, is the Digital Pog - a creative digital version of the collectible game (Pogs) that I had the joy of experience during their heyday in the early to mid nineties (yeah, I had my own crappy collection too). The idea came about in 2006 by Michael Bell-Smith, who's comprehensive collection of Digital Pogs (along with the official template for creating your own) still exists, showcasing some works by (web) artists such as Tom Moody, Sally Mckay, John Michael Boling, Matt Smear, Daniel Szymanowski, and Michael Bell-Smith himself (all of whom I've quoted above in that order).

The format brings about several interesting problems and challenges: as an artistic format that "limits" the artist, and as a game that can't technically be played in the same way as the RL game of Pog. Tom Moody stirred up some interesting discussions about the format through his "Pog Bloggin.'" His first post, Digital Pog Criticism (aka "pog bloggin'"), gives a nice run-down of the POG's origins along with a few points of criticism comparing the Digital Pog to the avatar format, acknowledging it's role within the digital gift economy (which is even more interesting now considering how many online communities and networking sites sell digital icons in limited editions to be exchanged or given as gifts online, which seems counter intuitive when considering the nature of a digital image as an unlimited edition), and exploring the potential difficulty that can be had working with the inconveniently round shape of the pog (which can also act as a great point of inspiration).

It's in his post more digital pog blogging, though, that the discussion gets interesting: how can one create a feasible solution to the problem of game play, which is the intended way for players to collected new Pogs? Technically, I have absolutely no idea how to go about it without stripping away the openness of Digital Pog creation. One would have to create an app with registered users in order to play fairly, but it would also have to allow for pog creation that would be powerful enough to allow individuals the freedom to create the pogs they want to create. At which point, the open source-ness of the Digital Pog begins to be lost.

Unfortunately, it would appear that the success of the Digital Pog stayed only with it's potential as a collectible art form, and as a result, the artists making (and I suppose collecting) seemed to have lost interest - Digital Pogs have, more or less, disapeared from our sights. Being new to the format, however, I still find it pretty interesting, and have created a small number of GIFs bellow (the last one is a pog-ified version of this sweet GIF I made). So yeah people, lets bring it back! (until I'm bored with it too)