Homestudio.thing.net - Jerome Joy website

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! Introduction '''^[English version^]''' ''^[French version below^]'' After the performance work I did in the beginning of the 80’s, followed by works with performed sound recordings, instrumental and electronic composition based on noise sound and sound immersions, I created programmed art on the brink of live composition, distributed sound spatialization and electronic and electroacoustic ambiance. That’s how I came into contact with the Internet in 1995, considering it as an “extension” of the studio, made up of machines (samplers, synthesizers, sequencers, programming software) which are connected to, and interact, with each other; and supplemented by distant relay machines: servers and surfers’ computers. Using programming languages, I conceived of network musical and sound art pieces; these pieces were original in that they had neither fixed beginning nor ending and in that they had a distributed audience. That’s how I got started working on what I would later call “extended music,” and which I called at the time hyper- or meta-music; music which wove together composition, programming and networks, providing a hint of the possibilities opened up by improvisation and comprovisation; in other words an extended time frame, and in-situ and in-tempo issues, on a much greater scale, and in a manner far different than usual. These network pieces were unique in that they created “floating” musical states that were all at once combinatory, randomly based on fixed components, and based on complex programs sending out synthetic sound data (and later sound streaming) and simultaneously piloting several servers and the processors of surfers’ machines. Since then, I have come back to performances, working on the network concert and improvisation scene … In parallel, I developed another project, the Collective JukeBox, between 1996 and 2004, based on suggested (network) listening to a continuously updated body of experimental music and sound pieces; the project brought together more than 1500 pieces of work from over 500 artists. The same goes for the project Lascaux2, one of France’s first e-exhibits, which I produced with Paul Devautour in 1999: an exhibition in an art center closed to the public (the Villa Arson), in which about 15 artists produced art work (continuous installations, performances, etc.) that the public could only experience over the Internet, via a network of webcams. My work has always had a collective dimension to it… In 1995, I started programming network pieces on a French server (Imaginet), which I left in 1997/98 to actively participate in The Thing server in New York. The originality of that server (and the project conducted by Wofgang Staehle) was that it was both a server for artistic projects, and an artistic collective motivated by similar dynamics and “political” beliefs. Because the networks were torn between economic and imaginary potentialities, it was important (and it is definitely important today) to think of them as permanent workshops (studios), in other words a multitude of places, regardless of how virtual they may be, made up of synchronous and asynchronous virtual actions, as well as their “exteriors”—the movement, back and forth, between network spaces and physical spaces. The Thing server, launched in 1991 and closed down in 2007, both for financial and “political” reasons… After it shut down, I started to write a history of The Thing with the help of Wolfgang Staehle, Ricardo Dominguez and Jordan Crandall. The result will be finished in a year or two with (or without) the help of the Ludwig Boltzmann Museum in Linz. I think it’s particularly important today to talk about the “memory” of network projects. After The Thing, GH Hovagimyan and Peter Sinclair set up the server Nujus.net; it’s the server I’m programming on today, along with the Locus Sonus “research laboratory.” ----
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