vertexlist blog is an online extension of vertexList gallery in Williamsburg, Brooklyn. The content is a collective effort of artists and curators working with vertexList. (

Monday, May 21, 2007

Students comment on JODI show.

I made my honors section students at NJCU write their final essay on JODI Composite club.

I know, I am cruel:)
Some of the pieces turned out quite nice so I thought I would publish them:

JODI Hacks Its Audience Too! by Efrain Calderon Jr.

Visiting JODI’s website is a frustrating and confusing experience. Overflowing with enormous amounts of content, it acts as a sort of web riddle. We’ve become so used to the idea of user friendly programs, that the complex strings of seemingly meaningless codes and endless vague links supply us with a chaotic experience. This chaos exposes our own human need to make connections, seek patterns, and see logic even where none is present.
Garnering a Webby Award in 1999, JODI made their acceptance speech simple and direct, “Ugly corporate sons of bitches.” It’s with this same attitude that they approach their art. More than just rebellious and defiant, JODI’s exposing of computer glitches or hacking video games seeks underlying truth by destroying the programmed edifice of software. As a result, JODI’s works break the fourth wall between the programmer and the user, showing how human a program can be when its mistakes and glitches are exposed.
Joan Heemserk and Derk Paesmans are JODI, creating web-based art and hacking games since the mid 90’s. Their current installation at VertexList shows a deconstructionist game hack of Wolfenstein titled S.O.D., and “” an online browser limited to .us domain names that shows the HTML skeleton behind the World Wide Web. The majority of VertexList’s space, however, is dedicated to an 8 monitor series titled “Composite Club.” I had the pleasure of attending the reception at VertexList on May 4th. The setting of an art reception, added another dimension to JODI’s work, and provided insight on the ideas behind their work.
I walked through the streets of Williamsburg, feeling electricity that could only be found on a sunny Friday afternoon. I approached the VertexList space on Baynard Street. Upon entering, my eyes had trouble adjusting from the brightness outside. Only lit by the glow of several monitors, VertexList suddenly felt like a secret bunker. Monitors were scattered throughout the space, as chaotic as the art that flashed on each one. It felt like the real life equivalent to the scattered links on JODI’s websites. Each piece was like a trophy; hacking and software exploits each on their podiums noisily calling for an audience.
The first piece I approached was S.O.D., the modified Wolfenstein game. Here JODI deconstructs the game elements and removes their textures, leaving only texture codes in their place. Full interactive, one is able to sit down and attempt to maneuver around the exploited virtual halls and rooms of Wolfenstein. I believe S.O.D. attempts to show how dependent we are on certain simulacra. Without these virtual door textures, the player is helpless. Enemies look like nothing more than moving blocks, just like you or the walls or even the pixels that populate the screen.
S.O.D. removes the threat element, and motivation behind the Wolfenstein shooter. You’re shooting something you can’t see at someone who you can’t see who’s trying to kill you. As bleak as this may seem, one could argue that there is a touch of Daoism as JODI shows the connection and similarity between all the elements in the S.O.D. world. The audience may be prompted to ask, can the same be applied to my own world? Or if by destroying my enemies, am I just destroying myself?
‘’ is a similar piece that deconstructs a tool whose simplicity one might take for granted, the web browser. Complex HTML code behind the websites the browser loads are displayed, almost like an online x-ray machine. One has the freedom to drag the ‘browser’ around, giving the audience or user an illusion of freedom despite the many constraints of this program. Users of the browser can only access sites with an ‘.us’ ending. JODI’s ‘’ may be commenting on web censorship, an issue that seems very relevant after government doctrines’ strong move toward ‘cleansing’ the World Wide Web. The idea of a browser only limited to the ‘.us’ ending may be a direct finger pointing at the U.S. government, who has pushed for filtering of search engine results and may still be monitoring web activity presently.
Taking up most of the space, however, was the multi-monitor “Composite Club” exhibit. Part of JODI’s current ‘screen grab’ period, “Composite Club” documents different results obtained by JODI’s hacking of the Playstation’s Eyetoy video game device. Eyetoy is a game that incorporates a camera input that has direct affect on gameplay. The software interprets speed of movement, direction of movement, as well as light and dark parameters. JODI hacked into the software, programming popular movies, cartoons, and classic film as the camera output. What JODI shows us is simulacra so complex that Baudrillard might have had a tough time deconstructing it. We are shown recordings of a video game program interacting with a prerecorded work, like a movie. JODI succeeds in showing us the absurdity of each piece of media as they try to interact with one another with totally different value sets and determinations of success or failure. The video game is playing against a movie that is unaware that it is playing a game. The game is exposed as nothing more than the games interpretation of various parameters (light, darkness, movement, speed), and destroys any suspension of belief one might have ever enjoyed while playing interactive games like Playstation’s Eyetoy. In one particular screen, the Spiderman movie was prompted to file the virtual nails of a virtual customer in this Eyetoy game. Spidey, doubled in speed, was aided by the director’s fast cuts to help trigger the right game response. Though ultimately Spiderman lost the game, it still proclaimed “You met the quota.” Perhaps such a statement is intentional, a comment on modern cinema’s box office success even with trite storylines and regurgitated concepts in our ‘remix’ dominant culture. Most likely though, JODI may be exposing the very absurdity of perception and communication. The same inability for these different mediums to interact correctly, could apply to our own world. Each person’s perception of the same thing is completely unique. Whether each film wins or loses the game is unimportant. The game presented is unimportant, and the fact that it is pre-recorded only points this out further. As these ideas flooded my head, I realized I could barely make out the sound effects over the chatter of the reception. I tried to not magnify a specific screen of “Composite Club”, and as I moved my eyes around I realized that I was as much a part of the ‘club’ as anyone else in the room. Couples and friends were talking and laughing, each enjoying the artwork in completely different ways. Social norms played out at the refreshment table, with lines forming, and polite ‘thank you’s’ and ‘your welcomes’ escaping the guests’ lips. Why did one woman choose the Chardonnay over the red wine? Did that blonde really want to talk to that guy? These questions seem just as much a part of “Composite Club” in their absurdity.
I would have liked to have spoken to Derk or Joan, but their piece convinced me otherwise. “Composite Club” shows the inability for anyone to communicate. Each piece of media has a purpose and agenda, but ultimately they all fail each other because they are different mediums. The video game isn’t aware of the movie, and the movie isn’t even aware of itself. My own interpretations of JODI’s work are only relevant to me. If JODI wanted to make a statement, they could easily have written a letter. Instead, JODI is creating artwork that critiques itself and its audience. “Composite Club” exposes the absurdity of meaning as well as JODI’s hacking exposes code and exploits weaknesses. Though mass produced, Eyetoy’s code is written like any other computer programmed device, but its unique code only makes sense to its processors. Similarly, at the core, our ideas are personal and unique, occasionally hacked and exposed by monitors that can reflect our own limits and inabilities in each of our own life long interactive ‘games’.

“Composite Club”
by Vanni Cardenas

The media project, Composite Club, by JODI was a reminder of the Simulacra discussed in Jean Baudrillard’s Simulacres et Simulation. The simulacra to which Baudrillard refers to are the “signs/symbols of culture and communications media that create the reality we perceive. These simulacra of the real surpass the real world and thus become hyperreal, a world that is more-real-than-real; presupposing and preceding the real.” The human mind and sensory systems allow us to naturally respond to stimulus from our environment. Nevertheless, it is one of the life characteristics to be able to respond to stimulus. Thus, human behavior is learned through observation, imitation, and experience; after all, we are social learners. Like the Gestalt theory of psychology as explained by Fritz Perls states: humans do not only visually simplify what they perceive, they mentally simplify what is perceived simultaneously and give things meaning. This is where mental symbols/signs are born which lead to things such as stereotypical opinions and other forms of logical/illogical generalizations, beliefs, views, et cetera.
Taking this into consideration, we can better understand the purpose of JODI’s critique. It is about putting certain aspects of digital life into perspective for their viewers in order to help them jump over the great divide between passive media consumption and the empowered production of meaning in today’s busy information age. The artists do this by using computers to decode pre-recorded motion rather than analog input. The computer game itself perceives a world saturated with imagery to perform the tasks gamers would achieve while playing video games. In the artists ‘reality’, the simulations of the gamers’ actions through a remote are replaced with video recordings that substitute actual analog game-playing. The inserted movie footage in the game, and the way it manipulates live game-play, are a machine’s perspective of the outside world. The ‘eye toy’ illustrates the world through the eye of a computer. They have replaced reality and meaning, in this case, of symbols and signs (an analog input) with a simulation of our reality: movies, pictures, colors, images, and sounds.

The gallery exemplifies ‘simulacra and simulation’ by using images and signs and experimenting how they work in relation to computer games and computer programming. In the only interactive game in the gallery, their use of the lowest common denominator (squares and letters), was a clever way of making viewers aware of what gamers are actually doing when enthralled in a video game such as Halo or Grand Theft Auto, for example. Despite of this game being stripped down to its simplest form, it was quite difficult to navigate or cruise around this ‘reality’ because of the lack of colors, images, symbols, and elaborate maps. We then, as spectators, are viewing a computers’ interpretation of reality bombarded with simulacrum. Because of their abstract artistic approach, their work leaves ample room for a wide variety of translations in every piece. One can say that the installations are ‘sleeping’ computers and televisions which are projecting their subconscious ‘thoughts’ or dreams. Some pieces exhibited a ‘1984-Big-Brother’ theme with a video game seemingly collecting human facial patterns from random YouTube videos and other footage. On display was also a laptop which offered us the computer’s semantics (HTML code) of what we see while we surf the internet.
Nevertheless, who we individually and collectively are is a product of our genes and our environment; both of which are as crucially important as the other. Since the ability to change aspects of ourselves which are governed by our genes is very limited, it is more than logical to pay much attention to our physical environment and how it effects our mental environment. Media comes in countless forms ranging from radio, television, music, internet, magazines, books, computer games, newspapers, and all the advertisements that can be found within them and other noticeable places like billboards, blimps, buses, trains, taxis, flyers, overall products, et cetera. Thus, one can see that media can have a major influence on who people are and can become, as it is a great contributor to the mental environment. Perhaps this media project is a transcendental attempt to rise above mainstream thoughts and ideas; they’re the equal, but opposite reaction to the contemporary and passive ways of viewing.

no art and no point make danny go crazy
by Eduardo Velez

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