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Ebon Fisher is a pioneer of transmedia art, working at the intersection of art, biology and digital media. 〔Frank Popper, "From Technological to Virtual Art," MIT Press, 2007, p. 119〕 Informed by his exposure to cybernetics and feedback systems at the MIT Media Lab in the mid-1980s, Fisher has approached his work as an evolving collaboration with the world, culminating recently in a nervelike system of ethics conveyed 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 Magazine dubbed 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 nerves and networks, Fisher's work has followed a trajectory from neuron graffiti to his weblike media creation, The Nervepool.
In 1985, Fisher was one of the first instructors at the MIT Media Lab where 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 raucous, 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. Fisher was one of the co-founders of a neighborhood-oriented arts movement called The Immersionists which included groups like Lalalandia, Fakeshop, The Pedestrian Project and large, interactive warehouse events like The Cat's Head, The Flytrap and Organism. 〔 "The Sex Salon & the Web Jam: Rediscovering the Value of Social Ritual," by Ebon Fisher, Utne Reader, Jan-Feb, 1995 〕 The emergence of such street and warehouse culture in the early 1990s helped Williamsburg, Brooklyn, to grow into a landmark arts district. Fisher's Immersionist works included the media-sharing gatherings at Minor Injury Gallery, Media Compressions, a phone-in community bulletin board, (718) SUBWIRE, an open, Anglo-Latino creative space situated in a traditional street festival, 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, and the large, collaborative warehouse event it catalyzed called Organism, 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〕 Newsweek dubbed 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 ethics called 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 MIT in 1986 following a BFA from Carnegie-Mellon University in 1982. In 1998 he was invited by the University of Iowa to create a new digital art program, “Digital Worlds,” which he directed for three years before being invited to teach at Hunter College in New York in 2001. He has lectured at numerous colleges and universities, including New York University, Sarah Lawrence College, Bennington College, the University of Washington and 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 Britannica as one of the "Best of the Web"〔"The Web's Best Sites," ''Britannica.com'', August, 2000〕 and his cybernetic terms 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〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ebon Fisher」の詳細全文を読む スポンサード リンク
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