Jessica Gomula
Since 2003
Works in United States of America

Jessica Gomula is the professor of new media at California State University, Stanislaus. She is a member of the intermedia performance group Double Vision in San Francisco.
She received a BFA from the Atlanta College of Art in 1996, and her MFA from Illinois State University in 2000.


2000 - Master of Fine Arts, Illinois State University, Normal, IL
1996 - Bachelor of Fine Arts, Atlanta College of Art, Atlanta, GA


•Fall 2010: New Love. Carnegie Arts Center, Turlock, California.
This solo exhibition will include an immersive installation environment featuring user responsive video and animations, an interactive performance, and audience generated visual collages. Several new works are being created for this 3000 sq. ft. exhibition space.
•March, 2009: Semantic Frottage, solo video installation. Modesto Art Museum / Mistlin Gallery, Modesto, California.
This solo exhibition is part of The International Surrealism Festival. Surrealism: The Cutting Edge of Art, a series of events in Modesto, CA., celebrating the 90th anniversary of Surrealism. It will feature Semantic Frottage, an interactive installation of transparent fabric, computer projections, sound, motion sensors, and live video capture. One new work is being created for this exhibition.
•July 2008: Life's Trantric Love Triangles. 21 Grand Gallery, Oakland, California.
This solo exhibition involved a large-scale video installation of five video works, two of which were created for the exhibition, an environmental soundscape, and live video capture. The artist's reception was held in conjunction with Oakland Art Murmur.
•April 2008: Infinite Transformations of Desire. University Gallery, California State University, Stanislaus, Turlock, California.
This solo exhibition featured an installation environment of video and interactive animations, live video feed, an environmental soundscape, a live video performance, and an interactive dance performance. Six works were included in the exhibition. A full color 32 page catalog was published for the exhibition.
•March, 2008: B.O.O.B. (Breastfeeding Outside Our Bedrooms). Sponsored by BelleSouth. Austin, Texas.
This solo invitational site specific work included a performance and online web resource site for new mom's in the Austin, TX area in conjunction with the South By Southwest Interactive Media festival, and with the support of the Austin La Leche League.
•March, 2007: Love’s Receipts. Print / Photo Gallery, Truckee Meadows Community College, Truckee Meadows, Nevada.
This solo exhibition included 10 digital montages documenting my installation and performance works with intermedia group Double Vision from 2005 through 2006.


Double Vision Intermedia Performance Group.

•2008: 4x60 National Tour. 17 performances in 11 major US cities.
Installation of video piece Life Games.
•2007: To Futurism and Back Again. Yerba Beuna Center for the Arts, San Francisco, California. This performance included the video piece Tantric GMO.
•2007: To Futurism and Back Again. Dance Mission Theatre, San Francisco, California.
This installation included the video piece Slippery Dreams.
•2007: Artist Salon, MacWorld Conference. Red Ink Studios. Red Ink Studios, San Francisco, California. This installation included the video piece Slippery Dreams.
•2006: 21/ONE. Performance with Double Vision and Boxcar Theatre, Fringe Festival, San Francisco, California. This piece was performed 12 times over a two week period throughout San Francisco. This performance included the video piece Jealousy's Triangle.
•2006: Lonely Owl and the Game of Life, Byte #2. CELLspace, San Francisco, California.
This large scale performance and installation included the video piece Name Games.
•2006: ArtsExpo. Civic Center Park, San Francisco, California.
This installation included the video piece Life Games.
•2006: Lonely Owl and the Game of Life, Byte #1.5. ArtSFest Spectra Ball, San Francisco, California. This performance and large scale installation included the video piece Sigmund's Laundry.
•2005: Lonely Owl and the Game of Life, Byte #1. Mad Horse Loft, Oakland, California.
This performance and installation included the video piece Sigmund's Laundry.
•2005: Lonely Owl and the Game of Life, Byte #0. WORKS, San Jose, California.
This performance included the video piece Life Games.

PAM - Perpetual Art Machine. These collaborative installations included four of my video works, Happy Holidays, Jealousy's Triangle, Magically Delicious, and Sigmund's Laundry. Since 2006, my work has been viewed over 2,300 times through PAM's exhibitions.

•November, 2008: Utsikten Art Centre, Norway.
•August, 2008: Charlotte and Phillip Hanes Art Gallery, Wake Forest University, Winston-Salem, North Carolina.
•June, 2008: Second Nature Festival, Aix-en-Provence, France.
•March, 2008: MOV-iN Gallery, College of Santa Fe, New Mexico.
•August, 2007: Chelsea Art Museum, New York, New York.
•June, 2007: WRO07 - XII International Media Art Biennale, Wroclaw, Poland.
•May, 2007: House of Campari, Los Angeles, California.
•April, 2007: Coachella Valley Music and Arts Festival, Inido, California.
•April, 2007: ArtDC Art Fair, Washington D.C.
•February, 2007: Scope Art Fair, East Hampton, New York and New York, New York.
•December, 2006: ART|BASEL, Miami, Florida.
•December, 2006: Scope Art Fair, Miami, Florida.
•October, 2006: Scope Art Fair, London, United Kingdom.
•September, 2006: Split Film Festival, Split, Croatia.
•August, 2006: Le Name Festival, Lille, France.
•July, 2006: Scope Art Fair, East Hampton, New York and New York, New York.
•June, 2006: Digit Film Festival, Monticello, New York.

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Call for participation - SexiWiki

Wed Oct 05, 2005 21:13

Participate in the creation of a community driven site exploring urban sex myths.

Urban sex myths are born from the informational gaps and conflicting messages created by the radically different ways our society addresses sexual education. Misinformation and half-truths give rise to imaginative explanations, which easily spread through society as myths. Just as storks do not deliver babies, these myths are untrue.

Feel free to add to or modify any of the myths in a category by clicking the EDIT button at the bottom. Add your own category to the list by clicking the EDIT button below.

To participate - or just browse - go to


Body Myths

Mon Oct 11, 2004 00:00

Call for Participation

We would like to invite you to contribute to the online body myth project. This project explores common myths regarding the body and sexuality; ranging from myths about pregnancy and biology to myths about individual preferences, likes and dislikes. Accompanied by explicit drawings, this site is intended for a mature audience.

The site allows users to add comments about their own experiences and encounters with any given myth, as well as the ability to submit new myths. We greatly encourage diverse points of view and variations on myths already submitted, please stop by and contribute today!


Re: Have you ever dreamed in code?

Lewis LaCook wrote:

> 1.) What programming languages do you use?

ActionScript, PHP, and tiny bits of CGI and Java
> 2.) Why did you choose the language(s) that you use,
> and how did you learn it/them?
I learned ActionScript so I could make interactive Flash projects, mostly self-taught through books and on-line tutorials.

> 3.) Were you university-trained in programming or
> self-taught? What advantages and disadvantages do you
> see in this method of learning?

I was not university trained in programming, but believe that many of the concepts I initially struggled with, such as object-oriented programming, would have been much easier to grasp if I could have asked questions from an actual person.
> 4.) How concerned are you with a language's political
> implications, i.e. with whether the language is open
> source or not? Why?
I would never have had the opportunity to learn if tutorials and resources were not available online and if other programmers had not posted their source-code as examples.

> 5.) Does your choice of programming lamguage effect
> the way you approach a problem you wish to solve with
> that language?

Absolutely, just as speaking French channels one's thought into French vocabulary, how I attempt to solve a problem is largely determined by my understanding of the terms and solutions already available.
> 6.) Did you come to New Media Art from Computer
> Science or from the Arts? Discuss the transition.

I came from the Arts, and have an MFA in Printmaking, but was introduced to programming (Basic) in middle school and high school, and reached the school's teaching limit early (no internet at that point). The "transition" occured when I learned how to make interactive Javascript's from my prints. I find the interactive nature of net-art to be the most compelling platform so far.
> 7.) What does programming add or subtract from an art
> object? Is the artist-programmer giving up control of
> the object by coding it, or introducing more control?

Both. Once it is interactive the artist loses control over the exact expression of an experience, but by programming specific response and avenues into the piece, the overall experience is still highly guided. Coding it is one of the only ways to introduce a non-linear experience, which I believe adds an important element to art, as the idea of the non-linear experience, stemming from web use, is a paradigm that has yet to reach it's fullest expression.
> 8.) Does each programming language imply an ontology?

> 9.) Have you ever dreamed in code?

Yes, whenever I am stumped on how to accomplish an idea / process for a project.
> 10.) Can one code art objects that produce catharsis
> in the user?

If making art is to see an idea actualized, is that not a catharsis?