neoscenes.net at +31 years

A few comments on where the site is in the moment:

A year ago my old friend, Howard Rheingold—the Silicon Valley journalist, who, among other activities was part of the WELL and who coined the term “virtual communities”—connected me with a start-up hosting company, ReClaim, that caters to the educational community. I’ve been part of the global educational community for more than thirty years: if the shoe fits! That and I’ve been increasingly annoyed/disgusted with GoDaddy—fifteen years the site host—for re-defining their “unlimited” hosting offers. In 2021 they threatened to kill the neoscenes.net site unless I deleted 30 of the 40 gigs of content. Faugh, enough of that: I signed on with ReClaim immediately. Rescued! This was the sixth major platform rollover for the site since 1993, and it’s only recently that I was able to take the time to revive those 30 gigs of the archival content.

There are still some format/embed and sizing problems with images that accompanying postings before 2009, brought on by fundamental changes in WordPress. It’s an endless process to keep the beast up to even a minimal contemporary standard. Currently there are ~8100 entries, several thousand images, a few hundred videos and maybe 2,000 audio pieces. I’ve decided if I can hit 10,000 substantive entries I will either stop posting, and/or be declared a daisy-pusher.

Screenshot of site in 1995, when hosted on the ISMENNT server in Reykjavík.
Screenshot of site in 1995, when hosted on the ISMENNT server in Reykjavík.

In the meantime, compiling the wretched news on Social Security and Medicare, monthly income will be, well, grim, in this, the richest … country … in … the … world (sorry, gagging on the phrase). Okay, okay, I am a privileged white male who tried to follow his own idiosyncratic path internationally. And, honestly, it feels like the ‘system’ it meting out its interpretation of just punishment for my ludicrous belief that what I did along that path had some socially-redeemable value in cash: it didn’t.

Staring out the window on the unseasonably warm and very dry environs, waiting for the arrival of a colleague to gather the remaining office gear: two MacBook Pros; an iMac; iPad; a couple Dell monitors; 2000 slides in archival boxes; a set of data DVDs; some of the org swag accumulated over the years; university credit card; Mines BlasterCard ID; various cables; and my internal identity as an employee of the Colorado Geological Survey and the Colorado School of Mines. It was a job I took out of desperation to lock in some minimal fiscal security before boredom, age, and ageism made it impossible. Indeed, it filled that role, somewhat, but I’m still in a relatively precarious state. Will soon liquidate the Cedaredge property if a reasonable renter can’t be found, though I hate to give up the Covid-era 2.25% mortgage!

The [R][R][F] – Bremen Group/Germany presents the ENDLOSFILM

ENDLOSFILM performance, online and Bremen, Germany, December 2004

Martin invites me to jump into this live event in Bremen while I am in Arizona. It’s a bit of a trick — between lousy bandwidth and other technical infrastructure issues, but I still have access to the Kiasma and Waag QuickTime servers, so it’s not impossible to get a signal out to the club there in Bremen where Andreas Genz does a live trombone improv along with my pixelated, herky-jerky visuals and digested sounds.

the A:D:A:P:T Festival – Media for Ruins

screenshot, neoscenes at the A:D:A:P:T - Media for Ruins Festival, online & the Museum of Contemporary Art, Denver, Colorado, June 2003

The A:D:A:P:T Festival — Thursday May 15, 2003 — Museum of Contemporary Art | Denver

1275 19th St. — Denver, CO 80202 — 303.298.7554

Cost: Members/Students: $3; Non-Members: $5

Interactive computer kiosks accessible at 2 PM / Live performances from 5 PM – 10:30 PM

The first annual A:D:A:P:T Festival explores the concepts of ruined structures, architectural collapse, decay, and memory.

——————–
Media for Ruins
——————–
new computer-based works by artists from the UK, Vancouver, Latvia, Norway, Italy, Portugal, France, Slovenia, and the US, including: MP3s :: audio/video streams :: interactive media :: animations :: hypertext:: installations

Over twenty computer-based works by artists from the UK, Canada, Norway, the Netherlands, Slovenia, Germany, Italy, France, Portugal, Brazil, and the US were included on interactive stations and incorporated into live PA sets as part of the first annual A:D:A:P:T festival held May 15, 2003 at the Museum of Contemporary Art, Denver.

——————–
Music for Ruins
——————–
live sets from equulei :: E23 :: The Mystery Children :: pharmakon.t ::
The Way Things Go :: em.chia :: RedSpecter :: special guests
————————————————————
https://www.du.edu/~treddell/adapt/
interactive works, MP3s, streams, and more launching here on Thursday, May 15, 2003
————————————————————

two neoscenes live performances, one at the Dutch Electronic Art Festival, and the other for remote-tv.de in Berlin. the material is mixed from my archived memory of audio & video footage which was gathered in this, the primary age of decay. https://kubrick.colorado.edu:6060/ramgen/hopkins/remote-tv.02.02.03.rm

john hopkins, usa

gaismaspils / castle of Light / telejam 04

screenshot: live neoscenes stream using VDMX, online, Boulder, Colorado & Riga, Latvia, 20 November ©2002 hopkins/neoscenes.
screenshot: live neoscenes stream using VDMX, online, Boulder, Colorado & Riga, Latvia, 20 November ©2002 hopkins/neoscenes.

A long ago and far away project at the cutting edge of collaborative international streaming between Boulder, CO, and Riga, Latvia, and points in between.

18-24 November 2002, Arhivs Gallery, Riga, Latvia

A real-time video-installation followed by series of live audiovisual data exchange performances in search of access to the repository of higher knowledge.

Video/sound artists and broadcasters (streaming media/icecast) are invited to salvage the Light from obscurity and participate in search process by joining telejamming sessions during the exhibition.

To participate and find out more, please contact voldemars@pxxxks.lv for any questions.

The installation concept is built around an ancient myth found in Latvian pagan culture, but its symbolic meaning can be found in many other cultures—be it the Golden Age, The Lost World, the Garden of Eden in ancient times and Christian belief, or The Lost Tree of Knowledge in Eastern Cultures.

In the Latvian mythology there is a widely known story about the Palace of Light — a repository of higher knowledge and wisdom, freedom and power of spirit and mind, which was drowned by darkness in depths of the Lake Burtnieki a long time ago.

By transforming the pagan mythology and industrial societies notion of the Palace of Light into the images of information society we arrive at the symbol which finds similarities with twenty-first century cultural icons like cyberspace, hyperspace, unlimited information space, dimension of thought, ideas, and information reality.

In the Latvian folklore we can find precise information about the way the drowned palace can be accessed: its name (or call it password) needs to be guessed, identified and separated from the rest of the information. Basically if we don’t question the convictions of Hellenistic thinkers about reality as the imperfect projection of the Idea, where new phenomenon and conceptions appear only when they are thought of (identified), it is necessary to find/capture this idea of the Palace of Light, which will serve as a universal key to the gate of the world of idea.

Today the information technologies have developed to such a level that it should be possible to find the ‘word’ (access code) of the Palace of Light. Even more, the search can be conducted in three basic levels of information: visual, sound, and text. In this case the access code search software will work like information processing virtuoso hackers, finding the right code from the hundreds of possible combinations.

About Telejam

A real-time audiovisual data performance (concert), simultaneously in real and virtual space. Many audio/visual streams are created and transmitted simultaneously by the artists in different geographical locations, and presented live via mix aesthetics. Since the summer of 2001 AmbienTV.net (London) and RIGASOUND (Riga) has conducted a series of real and virtual space situations within the Telejam lab. Telejam is real-time data sculpture in the information space.

Technically: in the exchange of data the internet and streaming media software (Realmedia, Icecast) are used as well as huge arsenal of digital, virtual, and analogue sound and video signal equipment, video/ audio mixers, effect processors, image processing software, etc.

The format of the situation and its experimental aesthetics allow artists to use and experiment with the net effects and techniques such as delay, loop, feedback, lo-rez, and signal distortion to create reflexive and summarizing audio-visual loop infinities.

links:

https://www.ambienttv.net/telejam/
https://rigasound.org
https://www.castleoflight.lv

[November 2002]

Damn Voldemars — I just sent this to the lev list, sorry — I hate when that happens! ;-)

I would love to join you folks with a video/audio live jam streamed from here in Colorado — what do I need to know? I have a phat Real Server to use for my stream, so I need no technical support. I can do a stream live mixed from VDMX VJ software with a separate audio stream…

Cheers,
John

bed-in for peace

screenshot, bed-in for peace, 19 October 1998, [Joensuu, Finland]

snow. several chunks of corn snow came with the wind from the north of Siberia, across the Barents Sea. shredded clouds, with sun in between, took all the leaves down without touching them once. from far away, tele-presence. so far, invisible.

meeting with Mindaugas, first, early in the week, on IRC, while we were both streaming video to each other, then, later in the week on iVisit during a performance that Andy and Amy were doing from New Zealand — a bed-in for peace. after spending much of the week exploring some technologies that are not implemented on this site, and poking around the site making needed corrections (mostly in the code).

sayonara diorama

screenshot from the collaborative online Sayonara Diorama performance with Adrianne Wortzel, New York City, New York - Kiel, Germany, April 1998

early this morning Adrianne ran the Sayonara Diorama performance in New York; with a few students here, I connect up via CUSeeMe and we participate for the duration, maintaining a conversation with Tapio, Steve, Susanna, Ariel, and others connecting up from other locations around Europe and the US. until 0530 here when the performance finishes in NYC in the early evening there.

CUSeeMe

Sunday morning. The workshop is over, wrapping up on Friday evening with the CUSeeMe event between Rotterdam, NYC, University of Iowa, and other locations. The technical quality was mediocre — which seemed to be an effect of line congestion outside of Finland. MUUMediaBase has a loaned line from the Helsinki City Library which is in the same block, it generally seems fast. We are on the cutting edge of consumer technology.

project: artdirt

speaking of artdirt..., New York City, New York, March 1996

I make my way up to the PseudoRadio studios to meet Robbin, GH, Robert Galinsky, and the rest of the PseudoRadio crew, including the founder, Josh Harris. The artdirt program was initiated by GH, and it was just a flat-out coincidence that I saw the artnetweb sign in SoHo when I was walking around, forgotten who I was going to see, staying at Stefan and Ellen’s place in Tribeca. I just went in, and there was GH, Robbin, Remo, and Adrianne. So they asked me to be on the show later that week (before they started recording the shows!).