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Mez Breeze: HUMAN READABLE MESSAGES MEZANGELLE 2003-2011. Chapter1 Book URL http://traumawien.at/bohumanreadablemessages.php

Mez Breeze: HUMAN READABLE MESSAGES MEZANGELLE 2003-2011. Chapter1 Book URL http://traumawien.at/bohumanreadablemessages.php

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Published by Jodok Gross
Mez Breeze: HUMAN READABLE MESSAGES MEZANGELLE 2003-2011. Chapter1 Book URL http://traumawien.at/bohumanreadablemessages.php
Mez Breeze: HUMAN READABLE MESSAGES MEZANGELLE 2003-2011. Chapter1 Book URL http://traumawien.at/bohumanreadablemessages.php

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Published by: Jodok Gross on Jan 28, 2012
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Chapter 1
1.1 June
1.1.1 ][frag.ment][
(2003-06-10 09:55)
3. WHAT ARE YOU LISTENING TO RIGHT NOW? turin brakes TheOptimist LP”4. WHAT ARE THE LAST 4 DIGITS OF YOUR PHONE NUMBER? 369033. LIVING ARRANGEMENTS? yes please. some1 please arrange my life 4me.34. WHAT BOOKS ARE YOU READING? 1 book. supercannes” by jgballard40. WHAT INSPIRES YOU? uber-newness. gaps and swells in conversa-tions. contradictions [especially in ppl]. dedication. oddness. talent. passion.focus. fragments.50. LIFETIME GOALS? 2 express + create without becoming hackneyedor wanky. 2 make as many reliable friendships as possible. 2 connect withgenuine ppl with talent, drive, motivation + compassion [with a l’tle bit o’cheekiness + stupid humour thrown in]. 2 inspire and assist those who want2 do but r afraid 2 try.27
(2003-06-11 01:08:04)Hola Mez, Amy here. God you inspire me. :)netwurker (2003-06-11 05:48:34)thunks:)
1.1.2 papazine n terview ][1][
(2003-06-10 10:08)
A:in general, before attempting to create a more ”multimedia” oriented work[ie like the final incarnation of ][ad][Dressed in a Skin C.ode ] i alwayscreate smaller, more net-directed pieces which i term either net.wurks orcode.works. these largely text/code based pieces are constructed using the hy-brid code/poetic dynamic [language] entitled mezangelle which is constructedvia a mixture of code splicing [ie fragments of programming language-shards- mostly Perl - + operating system & email formats, tree/directory-structures+ wildcard references, booleanisms, unix shell commands, html + java scriptconventions and ascii] and parsed poetic language including repeated allusions2 hyperlinks via bracketing of meanings and word splicing. i also employ var-ious identity tags [avatarish indicators that appear in the from: fields] thatsignify a substantial change in the informational/data flow, and can be uti-lized by a reader/absorber as a way of dealing with the meaning loadingsinvolved in any given wurk-phase....
1.1.3 papa.mag N terview ][2][
(2003-06-10 10:09)
...the wurks are then sent to multiple arts email lists, and then modified byfellow collaborators or translated into ”normal”english and modified/contentaltered again, resent etc. i’ll begin 2 build a more synergistic [multimedia]work from these texts with an initial subject/concept which may spring fromlines of text/code that are generated progressively as a piece percolates....][ad][Dressed in a Skin C.ode comes from this type of process...makingnotes in separate email-editor files or using my mobile, depending where i’mat [i don’t have a lap/palmtop at the mo so i find myself using my mobileto take down idea snippets]...then the structure usually emerges from thesefragments, via a method of appropriation [eg mimicking of a internationalrelay chat transcript or actually using 1 that i may have participated in,or utilizing a stretch of stylistically (or executably)-breathtaking code that imay have been using programmatically or come across in my research]..........ithen rework these net/code.wurks via a format suitable for the web using atxt editor and some bare html code if need be.......28
1.1.4 zineish bits ][3][
(2003-06-10 10:12)
in the case of ][ad][Dressed in a Skin C.ode , i used these net + code.wurksas a basis to create a web-based work that uses these net.wurks [ie texts ]as source material as well as the actual processes/methods involved in theirdispersion [which explains the format of each text as a email, includingfooters, subject lines, from:, re: and to: fields etc].i used flash MX 2 cre-ate the more dynamic components, such as the n.hanced wurks that usemouseovers, clickable regions, audio fragments & ”click- &-hold” areas - ieso-termed interactive” [blergh - mebbe co-operative is a better term?] sec-tions that play against themselves in terms of functionality in order to makethe audience play and weave within the meaning loadings. nothing is easy2 getin a mez wurk:) the purpose of manipulating interactive functionsvia these ”flashifications” is 2 hilight the stagnant methods some [not all]people employ when using prepackaged plugin-tools without any 4thought as2 their limitations/construction/cultural bifurcations. i use a nifty programcalled Soundraider that scans ur harddrive for .wav files and then manip-ulates these into a type of personalised computer soundtrack with 5 audiolayers that can be locked, muted or shu
ed to create audio that is highlyunpredictable but also controllable via the .wav file structure you feed it2 it[it can also scan specific directories alone]. i record this output then selectappropriate sections to integrate.
1.1.5 blurb ][4][
(2003-06-10 10:13)
i produce & translate the mezangelled texts in2 a variety of levels includ-ing multimediac versions as each layering is coded and specialised withintheir own peculiar meaning/interfaced trajectories.....this increases the ex-pressive avenues via which people can then choose 2 input their own personalcues whilst viewing/exploring the wurk and enhance their comprehension lev-els, especially if audience members aren’t in the mezangelle loop...i tried toweight ][ad][Dressed in a Skin C.ode towards a more accessible meaningwavelength, and hopefully it has enu
conventional multimedia elements toentertain those not textcentric or code literate.............this process of extend-ing intitial net/code.wurks into more multimediac territory can have mixedresults, and i’m not essentially sure that ][ad][Dressed in a Skin C.ode suc-ceeds in terms of adequately reflecting the whole network mechanism thatunderpins it, even though it does reference it repeatedly. the more multi-mediac interface does allow for multiple interpretive pathways via which anabsorber can choose to extract meaning via more sensory cues.29

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