- Ebon Fisher
Ebon Fisher is a transmedia artist working at the intersection of
art, biologyand digital media. Informed by his exposure to cyberneticsand feedback systems at the MIT Media Labin the mid-1980s, Fisher has approached his work as an evolving collaborationwith the world, culminating recently in a nervelike system of ethicsconveyed through a transmedia world called The Nervepool.
Life and Work
Cultivating what he terms "media organisms" in the plasma of
mass communications, Ebon Fisher is one of the early, pre-web explorers of network culture and viral media. Wired Magazinedubbed him "Mr. Meme" in 1995 for his memetic approach to art [ Matt Haber, "Mr. Meme," "Wired Magazine", December, 1995, p. 44] and he has been lauded as one of the "Visionaries of the New Millennium." [David Pescovitz, “Visionaries of the New Millennium,” "Java Magazine", January, 1997] Drawn to both the formal and functional properties of nervesand networks, Fisher's work has followed a trajectory from neuron graffiti to his weblike media creation, The Nervepool.
* Neuron graffiti: Pittsburgh, PA (1980-82).
* Nerve Circle: Interactive, multimedia, rock theatre group, Boston, MA (1986-88).
* Network rituals: Information-sharing rituals in Williamsburg, Brooklyn (1989-98). [Peter Boerboom, “Absorb into Memory: Ebon Fisher's Media Organisms,” Mute Magazine, London, Winter 1997]
* Network ethics: Bionic ethics system, the Bionic Codes, which evolved into Zoacodes (1992-present).
* The Nervepool: Transmedia world with a "nervecenter" at [http://www.Nervepool.net Nervepool.net] (1992-present). [Melody Parker, “Nervepool,” "The Courier", Waterloo & Cedar Falls, Iowa, January 15, 2006]
In 1985, Fisher was one of the first instructors at the
MIT Media Labwhere he began his research into culture as "intercoding networks" of humans, machines and ecosystems. In 1986, sensing rock music's potential for popular intercoding, Fisher launched the multimedia rock band, Nerve Circle, in Boston, MA. In 1988 Nerve Circle's aggressively interactive production, "Evolution of the Grid," was shut down by the police leading to his eviction from his loft. [Jennifer Dalton, "Ebon Fisher's AlulA Dimension," "Performing Arts Journal", Johns Hopkins University Press, January 1998, p. 62] This precipitated a move to Brooklyn in 1988. Fisher's experimental media rituals in the 1990s helped to build vital channels of communication in Williamsburg, Brooklyn, which has grown into a landmark arts district. These included the Media Compressions, (718) SUBWIRE, The Weird Thing Zone [Mark Rose, "Brooklyn Unbound," "New York Press", March 6-12, 1991, p. 10] and the collectively defined philosophy, Wigglism. [Frank Popper, "Ebon Fisher," "Contemporary Artists", Ed. by Sara and Tom Pendergast, St. James Press, 2002] According to Domus Magazine, Fisher’s bionic ritual, the Web Jam of 1993, became a "symbolic climax" to the emerging Williamsburg art scene. [Suzan Wines, "Go with the Flow: Eight New York Based Artists and Architects in the Digital Era," "Domus", February 1998, p. 84] Newsweekdubbed the Web Jam a "sequel to the rave." [Melissa Rossi, "Where Do We Go After the Rave?" "Newsweek", July 26, 1993, p. 58] Stemming from his media rituals Fisher developed a network-based system of ethicscalled Bionic Codes. These evolved into Zoacodes and have spawned an entire transmedia world with an evolving, web-like architecture, The Nervepool. [M. Parker, “Nervepool,” "The Courier", Waterloo & Cedar Falls, Iowa, January 15, 2006]
Fisher received an M.S in Visual Studies from
MITin 1986 following a BFA from Carnegie-Mellon Universityin 1982. In 1998 he was invited by the University of Iowato create a new digital artprogram, “Digital Worlds,” which he directed for three years. He has lectured at numerous colleges and universities, including New York University, Sarah Lawrence College, Bennington College, the University of Washingtonand Columbia University. He has written on media and the arts for Art Byte, the Utne Reader, Digital Creativity, the Walker Arts Center and the New York Council for the Arts. His media works have been exhibited in museums and festivals around the world. His codes have been presented on the Guggenheim Museum's online CyberAtlas since 1997. [Laura Trippi, "Intelligent Life," "Guggenheim Magazine", Spring 1997, p. 53] His Zoacodes website has been presented by the Encyclopædia Britannicaas one of the "Best of the Web" ["The Web's Best Sites," "Britannica.com", August, 2000] and his cyberneticterms have appeared in numerous dictionaries and glossaries. ["Web Jam," and "Bionic Code," "Netlingo.com", 1997-2007] [Jim Crotty, "Web Jam," How to Talk American: A Guide to Our Native Tongues", Mariner Books, 1997]
Inspired by both the living community networks in
Williamsburg, Brooklyn, and an increasingly collaborative internet culture, Ebon Fisher posted the first draft of his Wigglism Manifesto on the internet in 1996. He formally invited the public to contribute to its evolution, establishing Wigglism as one of the first intentionally open sourcesystems of philosophy. [Ebon Fisher, "Wigglism," "Leonardo Journal", Vol. 40, Number I, 2007] From its inception Wigglism has promoted the notion that the truth, or that which seems true, is interactively constructed with the world as a whole, not just with other humans or in the limited text space known as discourse. As dialogues surrounding the evolving manifesto have suggested, the most significant property of an interactively determined truth is not its veracity but the vitality in the collaboration in which it emerges. Wigglism also points to a post-art, post-science, post-humanworld in which both objective realityand subjective aestheticsgive way to a living, subjective ecosystem. This supports an emerging green culture underscored by an ethic of nurturing vital systems.
The Wigglism Manifesto
Loop into strange coilings, this coiling. Well up in the fibrillations of this hysterical continuum, this bionic boiling. Rise up and nurture the wiggling – of sinew and circuit, riot and union, mud and imagination. Nurture with the loaded logic of the living, with ceaseless reflection and a moving center.
Ovulate your tender eggs, your shivering codes, into the blood of interconnection. Soak tendrils of thought and gesture in an ethical jelly of feedback. Infuse phantoms and facts with equal measures of visceral significance. Creep along the rivulets and curls of writhing truth, this feral fetus squinting in a boundless womb of cultivations.
Breed turbulent creatures in a mongrel jungle of plasma, machines and minds. Embrace these creatures, these hives, these worlds. Keep that which is lively, and that which sustains life, in succulent focus. May the lonely pools of science, art and heaven congeal into a sea of quivering being.
At this twist in the orgy of Mystery we are drunk with the sweat of the stars, with that which seems alive, with lunges, lickings and startled presences. We fuse with the creatures of our devotion, becoming everything we encounter, becoming devotion itself. We transmute mind and matter into a zoology of spirit.
Dare to suckle this wild vapor. Convulse and clutch in waves of milky wonder. Siphon every atom, and theory of atom, into the folds of our collective screen, our flesh. Melt into the monstrous, grooving spasm of the infinite wiggling.
Nurture the wiggling, for that which wiggles is amazing.
– Ebon Fisher, with input from the public, 1996-2007
Ebon Fisher is continuing to cultivate The Nervepool and its system of network ethics, the Zoacodes, concentrating on pre-production for a video series. He has recently collaborated with NPR commentator, Andrei Codrescu, on the creation of a new Zoacode, "Signal Strangely" (2006), and has inducted students into his Nervepool world from the University of the Arts in Philadelphia (2006-07). He teaches
media artsat Stevens Institute of Technologyin Hoboken, New Jersey.
* Jonathan Fineberg, "Art Since 1940: Strategies of Being", Abrams/Prentice Hall, 1995/2000
* Claudia Steinberg, “Vis-a-vis Manhattan,” "Die Zeit", 1997
Frank Popper, "From Technological to Virtual Art", MIT Press
* Frank Popper, "Ebon Fisher," "Contemporary Artists", ed. by Tom and Sarah Pendergast, St. James Press, 2002
* Ebon Fisher, Music, "Circulate All Sensation," in CD Anthology, "State of the Union", compiled by Elliott Sharp, 1996
* Sylvie Myerson & Vidyut Jain, "Interview with Ebon Fisher," Sandbox Magazine, 1996
* David Alm, “Soft Machines: Ebon Fisher Coils into Gentle Linkage,” "RES Magazine", vol. 4 no. 4, 2001
* Ebon Fisher "Wigglism"
Leonardo JournalVol. 40, Number I
* Flash Art, Interview with Annie Herron, director of Test-Site Gallery, Brooklyn, Feb. 1993
* Charles Runette, “The New York Cyber 60,” "New York Magazine," Nov. 13, 1995
* [http://www.Nervepool.net Ebon Fisher's Nervepool]
* [http://www.inliquid.com/features/Hyper-Runt/home.html Hyper-Runt, online exhibit co-curated by Ebon Fisher and Emily Zimmerman and sponsored by Inliquid.com]
* [http://cyberatlas.guggenheim.org/home/index.html Guggenheim Museum's CyberAtlas]
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