iAM/iCAN CJ Redux

sky.(selectionS+).32

iAM/iCAN is a multimedia documentary shot in Austin, Texas in 1994. It featured tagged/searchable video embedded into a raster graphic interface. Five subjects discussed gender, race, nascent-on-line culture, technology, hopes and dreams for the future. Given the technical constraints of the time, this meant 4:3 aspect video compressed to a rather severe 160 x 160 pixels, so that streaming off of a state-of-the-art 2x cd-rom player was feasible. Video was shot by Shane Herman, and edited with Premiere. An interface was coded in Director. We called it New Media but didn’t really even understand the Old Medias.

background(james)

Years later, the video is small and grainy and the interface elements seem rather small, but still pretty. The audio is still quite powerful. The interface doesn’t work anymore but the individual graphic elements can be clicked on and the original files are still valid. Still holding interest: the audio, the actual interviews.

Here are all the interviews with CJ Manetta-Romano, who has fearlessly given permission to share his commentary from 1994.


Politics, Working Together, Unity


Interactive Entertainment, Technology as Adult Toys


Internet Culture


Was Intimidated by Technology


Future Interactive Education


Gender Generation Gap


Gender Stereotypes and Rave Flyers


Anarchy, Raves as Free Space


Future Raves, After Raves

iAM/iCAN Steve Redux

sky.(selectionS+).32

iAM/iCAN is a multimedia documentary shot in Austin, Texas in 1994. It featured tagged/searchable video embedded into a raster graphic interface. Five subjects discussed gender, race, nascent-on-line culture, technology, hopes and dreams for the future. Given the technical constraints of the time, this meant 4:3 aspect video compressed to a rather severe 160 x 160 pixels, so that streaming off of a state-of-the-art 2x cd-rom player was feasible. Video was shot by Shane Herman, and edited with Premiere. An interface was coded in Director. We called it New Media but didn’t really even understand the Old Medias.

background(james)

Years later, the video is small and grainy and the interface elements seem rather small, but still pretty. The audio is still quite powerful. The interface doesn’t work anymore but the individual graphic elements can be clicked on and the original files are still valid. Still holding interest: the audio, the actual interviews.

Here are all the interviews with Steve Wechsler, who has fearlessly given permission to share his commentary from 1994.


Components of Activism


Empathy Leads to Unity


Future Vision


Entertainment Is Passive


Commodity Culture


Anonymity of Cyberspace Manifests in Rave


Lossy Communication


Internet Culture, Email Lists, Online Education

Protected: iAM/iCAN Brandon Redux

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iAM/iCAN James Redux

sky.(selectionS+).32

iAM/iCAN is a multimedia documentary shot in Austin, Texas in 1994. It featured tagged/searchable video embedded into a raster graphic interface. Five subjects discussed gender, race, nascent-on-line culture, technology, hopes and dreams for the future. Given the technical constraints of the time, this meant 4:3 aspect video compressed to a rather severe 160 x 160 pixels, so that streaming off of a state-of-the-art 2x cd-rom player was feasible. Video was shot by Shane Herman, and edited with Premiere. An interface was coded in Director. We called it New Media but didn’t really even understand the Old Medias.

background(james)

Years later, the video is small and grainy and the interface elements seem rather small, but still pretty. The audio is still quite powerful. The interface doesn’t work anymore but the individual graphic elements can be clicked on and the original files are still valid. Still holding interest: the audio, the actual interviews.

Here are all the interviews with James Edward Neal, who has fearlessly given permission to share his commentary from 1994.


Conflict Resolution


Minorities in the System


Political Activity


Hopes for Internet


Prejudice Online


Multicultural Background


Multicultural Education


Extended Families


My Own Computer


Kids


Thanks

Oh So That’s How You Do It

b.d.artist

 

I’m consistently a failure at any kind of practical art practice.

As just one example, I didn’t quite get that one is supposed to have an artist web site these days. Partly that is due to my own confusion about being an artist and not owning that identity. That part is on me. Partly that is pure ignorance about art-world expectations and best practices. This part is now happily solved.

After taking a bunch of art-professionalization classes at Creative Capital, I’ve decided to adopt a new approach to my art on the web. Namely, an artist web site that follows the best practices established in the Web Site, Blog, and Email Essentials webinar.

aka benjamin.dekosnik.com

If I applied for an art grant in the dark ages before Sue Schaffner showed me the light, and you are a grant reader directed to links on this website, do yourself a favor. Read the artist website first.

 

Notes on The Machine Is Learning

This is a series of art videos that were generated as a by-product of an ongoing computational media project further described in GVOD, GVOD + Analytics: Star Treks \\///, etc.


The Machine is Learning, v2.2.
12:37 minutes, 960 x 720 pixels.


The Machine is Learning, v2.3 lbp
12:37 minutes, 960 x 720 pixels.


The Machine is Learning, v5.7 multi
12:37 minutes, 960 x 720 pixels.


The Machine is Learning, v5.7 multi ghost
12:37 minutes, 960 x 720 pixels.

Protected: GVOD + Analytics: Star Treks \\///

This content is password protected. To view it please enter your password below:

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