Lisa Jevbratt is a Swedish born artist and a professor in the Art Department and in the Media Art Technology program at University of California, Santa Barbara. For more than a decade she explored the expressions and exchanges created by the protocols and languages of the Internet and the Web, often manifesting as visualization software. She is now applying her understanding of these unintentional collaborations onto exchanges with animals of other species and their experiences of the world around them. In her ongoing endeavor "Interspecies Collaboration" she invites students to collaborate with individuals of other species and her current software-art project Zoomorph is software generating simulations of how non-human animals see.
Jevbratt's work has been exhibited extensively in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York); and it is discussed in numerous books, for example "Internet Art" by Rachel Greene, "Digital Art" by Christiane Paul and "Art + Science Now" by Stephen Wilson (all Thames and Hudson). Jevbratt also publishes texts on topics related to her projects and research, for example "Inquiries in Infomics", a chapter in the anthology "Network Art - Practices and Positions" ed. Tom Corby (Routledge) and "Interspecies Collaboration, Making Art Together with Nonhuman Animals" in Tierstudien [Animal Studies] Issue 1 (Neofelis Verlag, Berlin, Germany). Her current project Zoomorph is supported by a Creative Capital grant.
The project is currently being researched and developed. An early version has been released as an iOS app. A Web version will be released in Summer of 2014. App and info available at: Zoomorph.net.
Made possible by a grant from Creative Capital.
2013/10 The Zoomorph Project, Centro Colombo Americano in Bogota, Colombia.
2014/4 Zoomorph Lab in FIELDS, The Latvian National Museum of Art, Riga, Latvia
2013/6 Zoomorph (Test Prints), Color Consciousness, Torrance Art Museum.
2011/11 Zoomorph Pre-Alpha Release (Early version of iPhone/Pad App), Interactive Futures - Animal Influence, Concourse Gallery, Emily Carr University of Art + Design, Vancouver, Canada.
"Days Following: Difference" is an honest attempt to capture a ghost. The project consists of photographs taken automatically every minute for five hours during a (haunted?) night, accompanied by images generated by software comparing the difference between two sequential photographs. In addition a visualization was made using the exif data of all the photographs, in yet another attempt to capture something out of the ordinary.
The night in question, 5 days following my mothers passing, a TV set turned on by itself and a doll, given to me as a child by my mother, was moving across the floor, as witnessed by a mesmerized cat.
2009/01 The Limits of Knowledge, UCSB.
www.interspeciescollaboration.net is a web site for posting resources relating to interspecies collaboration and project documentation of art project made together with non-human animals.
(Created for the UCSB art class "Interspecies Collaboration", now open to anyone who wants to participate).
2009/09 Intelligent Design: Interspecies Art, UC Riverside Sweeney Art Gallery.
In collaboration with Anne-Marie Hansen and Dan Overholt. (In progress...)
Commissioned by Svenska Statens Konstråd (the Swedish National Public Art Council). The project makes more sense for swedish speaking people but there are descriptions in english.
Rösten (The Voice) project site
2006/12 Public Electronic!, Electrohype 2006, Skissernas Museeum, Lund, Sweden.
Searching traces of we - mapping unintended collectives, Lisa Jevbratt, in The Swedish Art Council Yearly Catalogue 2007.
The Infome Imager allows the user to create "crawlers" (software robots, which could be thought of as automated Web browsers) that gather data from the Web, and it provides methods for visualizing the collected data.
Infome Imager Lite project site
2005/07 SYNCH festival for Electronic Music and Multimedia Arts, Athens, Greece.
2004/09 2 Premio Dino Villani, Galleria del Premio Suzzara, Suzzara (Mantova) Italy.
2004/06 VAERK 04 "Changing Territories", Knabstrup Kulturfabrik,Regstrup,Denmark.
2004/05 Video festival Narave/Natures Ljubljana, Slovenia.
2004/04 Ciberart Bilbao, Bilbao, Spain.
2002/09 Mapping Transitions (curated by Christiane Paul and Mark America) Boulder, Colorado.
Infome Imager Lite Workshop
Installation with the Infome Imager Lite software, computers, printer, prints. (2005)
2006/10 XVI edizione di Miniartextil, Como Italy.
2006/09 Gensler Architecture Firm, San Francisco.
2006/07 CADREXXX, Works Gallery San Jose.
2005/02 Techno Sublime, University Art Museum, Boulder, Colorado.
Infome Imager Lite Prints
Prints made with the Infome Imager Lite software (2005-2006)
2006/09 Gensler Architecture Firm, San Francisco.
2006/10 On and Off, Bryce Wolkowitz Gallery New York.
2005 The University Art Museum, University of Colorado, Boulder. (Crawler I.D. #393, Manifestation #13, digital print 34"X45", and 20 letter size digital prints created with Infome Imager Lite.)
An update of the interface Migration from the project 1:1 (see below)
Migration project site
2005/01 Hypertemporality, University of Richmond Museums, Richmond, Virginia.
Out of the Ordinary is a Carnivore client, a network visualization software, which measures and maps the probability of communication between computers on the network that the software resides on, and between computers on the network and the Internet.
Out of The Ordinary homepage
2006/09 Gensler Architecture Firm, San Francisco. (4)
2006/01 The MEIAC (Museo Extremeno e Iberoamericano de Arte Contemporaneo) Badajoz, Spain.
2005/03 ARCO 05 (The MEIAC stand) Madrid, Spain.
2004/09 Parc De La Villette, Paris, France (2,3)
2002/08 Electrohype 2002, Malmoe, Sweden (1)
2002/05 Open_Source_Art_Hack, The New Museum for Contemporary Art, New York, NY
2002 Carnivore clients, Eybeam Gallery, New York, NY 2002
2005 The MEIAC (Museo Extremeno e Iberoamericano de Arte Contemporaneo) code art collection. Badajoz, Spain.
1:1 was a project created in 1999 that consisted of a database that would eventually contain the address of every Web site in the world and interfaces through which to view and use the database. 1:1(2) is a continuation of the project including a second database of addresses generated in 2001 and 2002 and interfaces that show and compare the data from both databases.
1:1 (2) project site
2009/10 Hybrid Geographies, Stony Brook University, New York.
2009/02 Net Art 1.0, an Add-Art exhibition curated by Steve Dietz.
2006/09 Gensler Architecture Firm, San Francisco. (billboard print of one of the visualizations.)
2004/11 Database Imaginary, Banff Centre for the Arts. (Web project and billboard print of one of the visualizations.)
2002/02 The Whitney Biennial, The Whitney Museum of American Art, NY.
2001 Nordic Interactive Conference, Copenhagen, Denmark.
2000 Obsession, Rosenberg Gallery, Towson, Maryland
2000 The Altoids Curiously Strong Collection (Various locations: New Museum, NY, The Lab, San Francisco and others)
2000 Transmediale, Berlin, Germany
2000 Art Entertainment Network, Walker Art Center Minneapolis
1999 New Langton Arts Bay Area Award Show, San Francisco CA
1999 Ars Electronica, Linz, Switzerland
2000 Altoids Curiously Strong Art Collection. (Collection donated to The New Museum, NY)
Mapping of all mails sent with Syncro Mail.
Syncro Mail - Unconscious Collective project site
2001/12 Korea Web Art Festival
Mapping The Web Infome project site
2001/08 New Langton Arts Gallery, San Francisco, CA
2002/02 Exploratorium, San Francisco, CA
At the Syncro Mail web site the user can send an e-mail including a picture and subject line to a person. The word and image are randomly selected from the web and the person sending the mail can not influence the selection and does not see the mail.
Syncro Mail project site
(As a member of C5)
The SoftSub research project is directed at developing a better understanding of the dynamics of organizational architectures and strategies involving personal computers. We are specifically interested in a better understanding of the dynamics of the relationship between files, folders, system, and desktop configurations. What is the objective? At C5 we think that individual users evolve organizational styles and structures that are not unique to their computing activity, but rather belong to larger communities of 'organizations'. There is no discrete computer.
(As a member of C5)
The 16 Sessions project applies data agencies and data attributes generated from Not to See a Thing, an installation by Joel Slayton, to the C5 database of validated http IP addresses (see 1:1) in order to generate a new topology of the www.
16 Sessions project site
A parasitic art system commissioned by Steve Dietz/Gallery 9 hosted by The Walker Art Center website.
A Stillman Project for the Walker Art Center Documentation
1998/11 Walker Art Center Website
1998/11 Commission Possible: Walker art Center 1980-1998, The Walker Art Center, Minneapolis, MN
A parasitic art system that acknowledge the www as a shared and intelligent space.
In The Stillman Projects memory is utilized to generate trails of the visitors of the site. The visitor gets to answer a question, related to the site and is assigned a color, red green or blue, dependent on that answer. Every time the visitor follows a link, that link is slightly colored by the visitor's color.
A Stillman Project for Switch (the first host for the project Fall 1997)
Documentation of an exhibition of the project, Gallery 3, SJSU, Nov. 1997
The Non-Site gallery utilizes the void constituted by non-existing information, non-functioning scripts and bad requests. It claims unintentional space for projects that take advantage of its special conditions. The gallery is hosted by the CADRE institute server and the projects are triggered as a response to 400, 404 and 500 error messages on the CADRE and the SWITCH sites.
One of the exhibited projects (created by me) is called "Recent Additions" and creates the pages or images that does not exist when they are requested.
Project is no longer available.
CADREnet was a collaborative art project investigating issues of communication networks and system dynamics. It consisted of a pager community who governed the functionality of a paging system, mainly by creating software agents and orchestrating events. I developed the main router for the pager communication and software agents, the web interface and the different commands for manipulating the functionality of the system and the agents externally.
Archive of the CADREnet web-site
A collaborative project/event by grad students at CADRE, SJSU.
1997/04-06 Area 51 Research Center, Rachel, Nevada. (Paintings from performance)
A re-contextualization of the land-art artist Michael Heizer's work. The project was made in collaboration with Jan Ekenberg, Benjamin Eakins. The site is not accessible for the moment due to possible lawsuit.
A virtual reality system software and installation, exploring navigation and information mapping in intelligent environments, exhibited at gallery 5, San Jose State University.
A Surveillance/Web project.
Sign Detection, Interpretation and Surveillance project site
PAT was a software agent residing on Switch Journal web server (switch.sjsu.edu) in the spring of 1995 monitoring, interpreting (according to the enneagram personality profiles) and responding to, the navigation of the users on the Switch web site. Each user was served different content depending on their behavior/type. and their "mental health" was mapped In collaboration with Ben Eakins and Mark Erikson.
A few stills survived from this animation. The original animation contained movies of modeled pieces of crap intersepted by the new words added to the Oxford Dictionary of the English Language 1995.
A Performance and installation in Internet news groups (alt.religion.christian, alt.paranet.ufo, alt.alien.visitors and alt.pagan) and the Art Department, San Jose State University.
Exhibited in the group show "Disturbance" in Sweden and the Baltic region 1992/1993 (Swedish Travelling Exhibitions).