The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.
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Subject: RHIZOME DIGEST: 11.11.05 From: digest@rhizome.org (RHIZOME) Date: Fri, 11 Nov 2005 17:08:55 -0800 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: November 11, 2005 Content: +note+ 1. Lauren Cornell: Hello/ rhizome upcoming +opportunity+ 2. Charlie Breindahl: Artifact - a new journal from Routledge 3. Doug Easterly: enure Track Position in Film - Syracuse University +work+ 4. t.whid: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances? +announcement+ 5. tom holley: Ultrasound Festival 2005 6. Greg Smith: vagueterrain.net 01: digital detritus 7. nat muller: INFRActures exhibition project [V2_, 2-18 Dec] 8. Christiane Paul: jihui Digital Salon presents Cory Arcangel -- Thurs. Nov. 17, 6-8 PM 9. marc garrett: nza: Abuse of the Public Domain AT HTTP Gallery +thread+ 10. carlos katastrofsky, judsoN, Regina Pinto, patrick lichty, Luís da Silva, Lee Wells, G.H. Hovagimyan, Rob Myers, Jim Andrews, t.whid, Pall Thayer, Geert Dekkers: 10 questions a net.artist has to be aware of + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit http://rhizome.org/info/org.php for more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Lauren Cornell <laurencornell AT rhizome.org> Date: Nov 11, 2005 12:15 PM Subject: Hello/ rhizome upcoming Hello, It's been just over 5 months since I started with Rhizome, and I thought it was time to share some ideas and priorities that the Rhizome staff has set. First, it¹s important to say that all our plans have formed with the work, commentary and criticism of the Rhizome Community in mind. One of the most significant challenges that Rhizome, as a community-based organization, faces is how to make the relationship between the Rhizome staff and the broader base of participants and members meaningful. At the moment, we see our task as synthesizing feedback, and working to enhance the programs and services we offer. We are open to exploring other structures of project responsibility and administration in the future. Below, I lay out several upcoming projects to elicit any thoughts or questions you might have, and just for your information. A couple of them will call on your collaboration and insight; all of them relate to overall improvements of our existing services and online infrastructure. 1) New site design. We are currently in the process of developing and implementing a new design for Rhizome.org. I initiated the new design because I felt the current one had become, over the course of the three years since it was launched, difficult to navigate and overburdened with information. The new site will aim to be more clear, easier to use for our current constituency and hopefully more straightforward for people who are new to Rhizome. With our new membership policy in place, our site traffic has increased dramatically and we¹d like the new visitors to our site to return. Another important goal of the new site is to make important Rhizome features more prominent. By important features, I mean our online discussions, member art work, membership, the archives, exhibitions, etc. Rhizome has changed over the years, added programs, developed earned income initiatives and switched membership policies; this new structure needs to breathe better through the design. We have hired a designer and graduate student at MIT, Sarah Dunbar, to do the re-design. She has been tremendously generous with her time, given the extremely limited resources and budget we were able to put towards the project. We expect it to be launched mid-December, but I¹ll write out when we've confirmed a date. 2) Advanced Search. We are currently in the planning stages of significant improvements to our advanced search, both the tools and the results. Francis made some initial fixes to it late summer. More thorough improvements are slated on our tech timeline to begin after the new site Keep in mind, our tech department is a very busy department of one: Francis. 3) Metadata Project. Our current system of metadata was created (by previous Rhizome staff Mark Tribe, Alex Galloway and Jennifer Crowe) around 1999 when the ArtBase was launched. Understandably, the new media art field has shifted since then: tools, programs and concepts have developed, and the keywords that index our archive need to address this. This, plus the frequent comments and inquiries on the part of the artists associated with the ArtBase or Rhizome, are the impetus for the Metadata Project, through which we hope to generate a new set of terms that will specifically address the works in the ArtBase, and on a broader level, be available to other art organizations and archives interested in the preservation of new media. We¹d like to involve the Rhizome Community in this project, and also representatives from other organizations. The project will start with a blog on our new site which will be a forum for an open conversation on relevant keywords, and for debate over slight terminological differences that hold significance: such as ?sound¹ vs. ?audio¹. Rick Rinehart, Director of Digital Art at the Berkeley Art Museum, has agreed to blog, as has Marisa, I will too. (If anyone else would like to get involved in the blog, please contact me directly. Thanks. ) After this initial conversation, we are hoping to convene artists and staff of other organizations to synthesize the open conversation, and set the terms. For the blog and for these summary conversations, we would like to involve people with knowledge of new media, and also experience with archives or new media preservation. As a slight disclaimer, I understand that a process addressing taxonomy and tagging could take so many different forms, but we think this process is best to deal with the ArtBase, and the limited resources financial and human we can realistically put towards the project. These are a few headlines on our organizational horizon. Other upcoming projects include improvements to our Member Directory (more details to come), and our tenth anniversary program in Fall 2006 which we are envisioning as a festival of exhibitions, performances and events that will be based in New York and also take place in other cities around the U.S. and internationally, and hopefully be a wide-ranging and diverse celebration of new media. We are looking to partner with other organizations for this, so please get in touch with me and Marisa - marisa AT rhizome.org - if you are interested in exploring possibilities for collaboration. Wow, this letter has gone on. I appreciate your reading, and any comments you might have. For those, who have contributed during the Campaign, thank you so much. I assure you every contribution is being put towards efforts to build a stronger, more effective Rhizome. Yours, Lauren -- Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Please Support Rhizome! Rhizome launched its membership drive, the Community Campaign, on September 19th. The campaign is incredibly important to Rhizome's survival and growth over the next year, and we sincerely hope that you will help us meet our goal of $25,000 by December 1st by becoming a Member or making a donation today! This targeted amount will go into strengthening our current programs, and seeding our energy into new initiatives. Higher-level donors are thanked on our support page and have an opportunity to secure limited-edition works by Cory Arcangel, Lew Baldwin, and MTAA. This is a very exciting time for the organization, and a great time to get involved. Thank you for your ongoing support. http://www.rhizome.org/support/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Charlie Breindahl <charlie.breindahl AT gmail.com> Date: Nov 6, 2005 1:42 PM Subject: Artifact - a new journal from Routledge CALL FOR CONTRIBUTIONS Artifact - a new journal from Routledge Artifact is a new international, peer-reviewed academic journal treating the impact of computerization on design. VISION The computer has had a profound impact on the look, feel, and function of our everyday world. As a tool, the computer has become indispensable for the design professional, profoundly changing the design process. As a design material, the computer is extremely versatile, enabling intelligent objects and processes. As a medium, the computer transforms our understanding and stores our experiences. The combined impact of these forces is changing the relations between humans and our technology in unprecedented ways. Artifact does not draw an artificial line of demarcation between the virtual and the physical. It strives to illuminate the problems and possibilities in their interaction. The journal does not frame digital design as a design discipline such as industrial design or graphic communication. The unique role of the computer as tool, material, and medium, makes digital design an integrated element of almost any design project today, with designers in all fields and disciplines using digital design in some way. Artifact assumes an open position. The journal strives to promote transdisciplinary design research. It will not create or maintain disciplinary boundaries. Rather, Artifact will encourage cross-fertilization, interconnections, and crossbreeding among different scientific disciplines, the design industry, and the arts. PUBLICATION The journal appears in both a print version and a digital version. The journal is published using a 'Web first' concept. Each issue is first published on the web. The year's issues are gathered together into a full paper volume published at the end of the year. In some cases, web technology will mean that the web version supports special interactive features and links that can only appear in the print volume as illustrations and references. SUBMISSION We welcome contributions which seek to understand and reflect the different aspects and impacts of virtuality within the field of design from theoretical or applied perspectives. Artifact brings contributions in the form of academic articles, book reviews, design case post mortems, and design company profiles. To point to possible directions, we have selected themes for the first four issues of Artifact: - Volume 1, issue 1: What is an artifact? - Volume 1, issue 2: Soft artifacts. Tracing 'soft movements' in several creative domains, notably architecture and digital film. - Volume 1, issue 3: The third place? The ontological status of objects and events in computer games. - Volume 1, issue 4: Digital design processes. What impact has digital technology had on the design process? The themes are not meant to be exhaustive. We hope they will trigger ideas and encourage submissions from a range of disciplines. Deadline for the first issue of Artifact is 18 November. Articles will be published 1 March 2006. However, contributions addressing the theme of the first issue may be published on-line at a later date and appear in the print volume. Please send submissions and queries by e-mail to Ida Engholm at <ida.engholm AT karch.dk> or to Charlie Breindahl at <hitch AT hum.ku.dk>. Articles should be sent as attachments in Microsoft Word .doc format or as PDF files. Please send articles with a cover letter containing full author information. Articles should be prepared for double-blind review using anonymous format and full references in APA style. In addition, we welcome suggestions for design case post mortems, book reviews and designer profiles. EDITORS Charlie Breindahl External Lecturer University of Copenhagen + IT University of Copenhagen Denmark Ida Engholm Associate Professor Center for Design Research Royal Academy of Fine Arts, School of Architecture Copenhagen Denmark Judith Gregory Faculty of Design Institute of Design Illinois Institute of Technology USA Erik Stolterman Director, Human-Computer Interaction Design Professor of Informatics Indiana University School of Informatics USA ADVISORY BOARD Thomas Binder Director Center for Design Research Royal Academy of Fine Arts, School of Architecture Copenhagen Denmark Jeanette Blomberg Director of Experience Modelling Sapient Professor of Human Work Science University of Karlskrona/Ronneby Sweden David Durling Professor of Design Director of the Advanced Research Institute Middlesex University UK Lars Dybdahl Associate Professor The Department of Art History University of Copenhagen Denmark Pelle Ehn Professor School of Arts and Communication Malmö University Sweden Ken Friedman Professor of Leadership and Strategic Design Norwegian School of Management and Denmark's Design School Norway and Denmark Susan M. Hagan Postdoctoral Fellow Carnegie Mellon University USA Marius Hartmann, Ph.D. Designer Danish Broadcasting Corporation Denmark Steve Jones Professor and Head Department of Communication University of Illinois at Chicago USA Klaus Krippendorff Gregory Bateson Term Professor University of Pennsylvania USA Lev Manovich Professor of Visual Arts University of California, San Diego + Director, Lab for Cultural Analysis California Institute for Telecommunications and Information Technology USA Bonnie Nardi Associate Professor School of Information and Computer Science University of California, Irvine USA Jannie Nielsen Professor Department of Informatics Copenhagen Business School Denmark Christiane Paul New Media Curator Whitney Museum of American Art New York USA Martin Pingel Technological Coordinator Denmark's Design School Denmark Sharon Poggenpohl Professor Institute of Design Illinois Institute of Technology USA Johan Redström Research Director, studio Design Göteborg Interactive Institute Gothenburg Sweden Michael Schmidt Createch Director k10k and Cuban Council Denmark/USA Lisbeth Thorlacius Associate Professor Department of Communication, Journalism, and Computer Science Roskilde University Denmark Wendy Siuyi Wong Department of Design Faculty of Fine Arts York University Canada Kristoffer Åberg Senior Interaction Designer Sony Ericsson Sweden + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Doug Easterly <playfight AT mac.com> Date: Nov 6, 2005 1:35 PM Subject: Tenure Track Position in Film - Syracuse University The Film Program in the Department of Transmedia, College of Visual and Performing Arts, Syracuse University is searching for a senior faculty in film, Associate or Full Professor. Tenure is possible for highly qualified candidate. Salary will be commensurate with experience and professional status. Applicant should have a well established record of excellence in teaching and production and exhibition of creative filmmaking. We are looking for a person able to teach all aspects of 16mm, super 16mm and digital filmmaking as well as some areas within history/theory/criticism. Collegiality and collaboration is critical in a department that includes video, computer art, and photography and encourages cross discipline studies. Applicant should send a letter of intent, full CV, tape or DVD of creative work (full works, not sample reels), several course syllabi, and names of references and a SASE to: Film Search Committee, Syracuse University, Department of Transmedia, 102 Shaffer Art Building, Syracuse, NY 13244-1210. Deadline: December 15, 2005. Syracuse University is an affirmative action/equal opportunity employer. Women and minorities are encouraged to apply. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions http://rhizome.org/art/exhibition/ Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. http://rhizome.org/art/exhibition/city/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: t.whid <twhid AT twhid.com> Date: Nov 9, 2005 9:23 AM Subject: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances? Hi Rhizome, Tell Us What To Do! MTAA's "10 Pre-Rejected, Pre-Approved Performances" (http://www.mteww.com/approve/index.php) is a project that allows you, the dirty mob of the unwashed Internet public, to decide what performance we do for an upcoming show! Break down the clean, white walls of the rarified New York gallery world by telling us, MTAA, the elitist NYC net art snobs, what to do (via a simple on-line form)! It's fun! Go there now and vote! http://www.mteww.com/approve/index.php It's easy! Go there now and vote! http://www.mteww.com/approve/index.php It's anti-establishment! Go there now and vote! http://www.mteww.com/approve/index.php You get to pick from a selection of 10 titles and descriptions. Your choice is the performance we'll complete! The curator of the show and gallery directors have already agreed! The best part? All these ideas have already been rejected by other curators! Haha! MTAA's "10 Pre-Rejected, Pre-Approved Performances" will be exhibited at Artists Space (http://www.artistsspace.org/) in a show entitled "We Are All Together: Media(ted) Performance" curated by Marisa Olson (http://lifeofmo.blogspot.com/), which is in turn part of Empty Space With Exciting Events (http://www.artistsspace.org/exhibitions/ current_exhibition_bottom.html) which is itself presented in partnership with Performa '05 The Performance Biennial (http://05.performa-arts.org/). (Damn the NYC gallery world is complicated ? it's like a mystery wrapped in an enigma then slathered with special confusion sauce.) === <twhid>http://www.mteww.com</twhid> === + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. http://rhizome.org/commissions/ The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: tom holley <tomholley AT the-media-centre.co.uk> Date: Nov 7, 2005 2:35 PM Subject: Ultrasound Festival 2005 Ultrasound 2005 www.ultrasound.ws Mon 21 - Sat 26 Nov 2005 The Media Centre and Bates Mill Huddersfield England Ultrasound 2005 presents a diverse programme of live performances, installations, workshop and talks by UK and international artists working in new interdisciplinary ways across the interrelated fields of new media, contemporary electronic music, software production, new technologies and audiovisual performance. We are pleased to announce the 'Finnish Partition' of the festival, programmed in collaboration with Helsinki based artist, organiser and curator Juha Huuskonen. The 'Finnish Partition' represents a cross-section of the new and emerging creative talent practising media arts in Finland today, supported by established names such as Pan Sonic. The festival takes place at The Media Centre and Bates Mill, two contrasting venues. The Media Centre is home to over 60 creative industries enterprises, while Bates Mill is a traditional Mill complex just outside Huddersfield town centre. The performances at Bates Mill are located in the old 'Blending Shed' a 5,000 sq ft industrial space. Ultrasound Outline Programme: Live Performances ================= Pan Sonic [Finland] http://www.ultrasound.ws/pan-sonic.html Grey Zone [Finland] http://www.ultrasound.ws/greyzone.html Memnon [Finland] http://www.ultrasound.ws/memnon.html Sue Costabile [USA] http://www.ultrasound.ws/costabile.html AGF [Germany] http://www.ultrasound.ws/agf.html Aymeric Mansoux [France] http://www.ultrasound.ws/mansoux.html O Samuli A [Finland] http://www.ultrasound.ws/oa.html Marloes de Valk [Holland] http://www.ultrasound.ws/de-valk.html Owl Project [UK] http://www.ultrasound.ws/owl-project.html Jaap Blonk [Holland] http://www.ultrasound.ws/blonk.html Golan Levin [USA] http://www.ultrasound.ws/levin.html Zachary Lieberman [USA] http://www.ultrasound.ws/lieberman.html The World of PIKU [Finland] http://www.ultrasound.ws/piku.html Pardon Kimura [Japan] http://www.ultrasound.ws/kimura.html The Sancho Plan [UK] http://www.ultrasound.ws/sancho-plan.html Installations ============= Scrollbars by Jan Robert Leegte and Edo Paulus [Holland] http://www.ultrasound.ws/scrollbars.html Kick Ass Kung-Fu by Perttu Hämäläinen, Mikko Lindholm, Ari Nykänen [Finland] http://www.ultrasound.ws/kung-fu.html Workshop ======== Tiletoy A Modular Electronic Game Prototype by Tuomo Tammenpää & Daniel Blackburn [Finland / UK] Open software / open hardware TileToy is an open project. Both the source code and the hardware will be made available via open licenses. The aim of TileToy is not just to create something that we ourselves can use to create interesting games and demos for, but as a platform that anyone can use to create unique content. Making the software open will allow people to create their own applications and games and feed these back into the community to spark further innovation. The open hardware will also allow people to make their own TileToys cheaply without paying a third party potentially leading to new projects that branch off to make new versions of TileToy based on the original hardware. http://www.ultrasound.ws/tiletoy.html Further additions to the programme will be announced soon. Please visit the website or sign up to the electronic mailing list. Contact ======= Tel: +44 [0]870 990 5007 Email: info AT ultrasound.ws www.ultrasound.ws + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire http://rhizome.org/hosting/ Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Greg Smith <smith AT serialconsign.com> Date: Nov 8, 2005 5:36 AM Subject: vagueterrain.net 01: digital detritus Announcing the launch of http://www.vagueterrain.net Vague Terrain is a new quarterly web-journal showcasing work from various Canadian and International artists, musicians, and writers. Our intent is to stake a unique claim which will sample the focus and methodologies of academic and art journals while commissioning parallel excursions in the sonic realm. The first issue of Vague Terrain is now online and features contributions related to the theme of "digital detritus" from: des cailloux et du carbone, greg lynn form, intercom, kero, liav koren, willy le maitre & eric rosenzveig, neil hennessy, robin armstrong, tasman richardson, tony scott (aka beflix), and tomas jirku. This notice serves as a statement of intent. We plan on carving out a unique niche for ourselves not only on the net, but through a series of upcoming Toronto based, immersive electronic music showcases which will feature a blend of aural and visual work in a live environment. We hope to provide a platform through which established and emerging artists can promote their work online, and stimulating event-spaces where mediums and disciplines intersect. Greg Smith http://www.vagueterrain.net http://www.serialconsign.com greg AT vagueterrain.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: nat muller <nat AT xs4all.nl> Date: Nov 9, 2005 7:03 AM Subject: INFRActures exhibition project [V2_, 2-18 Dec] [apologies for cross-posting] ***************************************** INFRActures: Translations between the Sonic, Spatial and Temporal Date: Friday 2 to Sunday 18 December 2005 Opening hours: 11:00?18:00 hrs (Thu to Sun) Location: V2_, Eendrachtsstraat 10, Rotterdam Admission: 2,50 euro Tel. + 31 10 206 72 72 http://www.v2.nl/infractures ***************************************** INFRActures is an exhibition project transcending the sensory perceptible at the convergences of sound art and architecture. Artists Edwin van der Heide, Cevdet Erek, mxHz.org and STEALTH.[u]ltd have been commissioned to create four new works which make tangible what is not registered by our senses within an urban environment, such as ultra- and infra-sonics, and different perceptions of time and spatiality. Cities as Rotterdam and Istanbul make up the source material and points of departure for the installations, which are interactive in character and allow for a participative and layered audiovisual experience. * Edwin van der Heide: Sound/Light/Street * STEALTH.[u]ltd: Street/Appropriation/Struggle * Cevdet Erek: Avluda | In The Courtyard * mxHz.org: TICS [THIS INAUDIBLE CITY SOUNDS: Reading through Pamuk's Istanbul] Curator: Nat Muller in collaboration with Stephen Kovats INFRActures has been made possible with the support of ThuisKopie Fonds, Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, VSBfonds and Prins Bernhard Cultuurfonds Rotterdam. *-*-* TANGENT_FRACTURE (INFRActures vernissage) Date: Thursday 1 December 2005, 17:00-19:30 hrs Location: V2_, Eendrachtsstraat 10, Rotterdam Admission: free http://www.v2.nl/tangents The exhibition is inaugurated by an opening intervention of artist and architect Kyong Park, and framed by two live sound performances of sound artist Cevdet Erek and media artist mxHz.org, taking you beyond the boundaries of the audible. The INFRActures vernissage is the first in V2_'s new series of monthly TANGENTS live and interactive streamed events. *-*-* laurie halsey brown: beingthere.v2.r'dam.05 Date: Sunday 18 December 2005, 15:00-17:00 hrs Location: V2_, Eendrachtsstraat 10, Rotterdam Admission: 5 euro (seating limited!) http://www.movinginplace.net/welkom2rdam Many Rotterdam architects tend to leave the city due to a shortage of local projects. Rotterdam profiles itself as a city of architecture but how does this image chime with everyday reality? Artist laurie halsey brown organizes during the finissage weekend of INFRActures a bus tour through the city that includes an onboard experimental documentary of local architects discussing the validity of the city?s slogan ?The City of Architecture?, with stops at several sites built by local architects and access to a public intervention project placed throughout the city. The tour begins and ends at V2_ ***************************************** V2_, Institute for the Unstable Media Eendrachtsstraat 10, NL-3012 XL Rotterdam PO Box 19049, NL-3001 BA Rotterdam, NL Tel + 31 10 206 72 72 | Fax + 31 10 206 72 71 E-mail info AT v2.nl | URL http://www.v2.nl ***************************************** + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Submit to a Rhizome Commissioned Art Project! Panel Junction is a project co-produced by media artist Andy Deck and many volunteers. It combines the graphic novel with forms of shared authorship that are unique to the Internet. Contributions from visitors become material and base imagery for the narrative of the novel, which will culminate in a free document good for online viewing and printing on any standard inket printer. All images and text contributed to the project will remain free for non-commercial use with attribution under a Creative Commons license. Panel Junction received and 05-06 Rhizome.org Commission. Check it out, here: http://artcontext.org/act/05/panel/feature.php?page=3D6 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Christiane Paul <Christiane_Paul AT whitney.org> Date: Nov 10, 2005 9:48 AM Subject: jihui Digital Salon presents Cory Arcangel -- Thurs. Nov. 17, 6-8 PM jihui Digital Salon in cooperation with The Project Room AT Chelsea Art Museum presents Cory Arcangel Thursday Nov. 17, 2005 - 6-8 PM NEW LOCATION: Chelsea Art Museum, 3rd Floor 556 West 22nd Street New York, NY 10011 http://agent.netart-init.org http://www.chelseaartmuseum.org Cory Arcangel will be discussing his recent works and collaborations, as well as future projects, including the music group Van Led, a self-produced version of MTV cribz, and various assorted computer hacks. His presentation will include topics as varied as Simon and Garfunkel, google, Biggie Smalls, AOL IM, and homemade video games. Cory Arcangel is a computer artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers and the Internet. He is a member of the artist groups BEIGE and R.S.G. His work has been shown in the 2004 Whitney Biennial; The Guggenheim Museum, New York; the Museum of Modern Art, New York; the Migros Museum in Zurich; and Team and Deitch galleries in New York. Except for gallery installations, most of his projects can be downloaded with source code from his website http://www.beigerecords.com/cory/ jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc. jihui is where your voice is heard and your vision shared. jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT http://www.netart-init.org | http://www.intelligentagent.com THE PROJECT ROOM is a special projects and education program at the Chelsea Art Museum that brings together international artists, curators, cultural, educational and corporate organizations. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: marc garrett <marc.garrett AT furtherfield.org> Date: Nov 11, 2005 12:48 PM Subject: Stanza: Abuse of the Public Domain AT HTTP Gallery HTTP Press Release. Stanza: Abuse of the Public Domain. Private View Thursday 8th December 7-9pm 9th December 2005- 23rd January 2006 HTTP presents Abuse of the Public Domain, the first solo show of networked media art by Stanza. http://www.http.uk.net/docs/exhib8/exhibitions8.htm This exhibition features two large video projections, which use live real-time data from CCTV cameras sited in two cities, London and New York. Security tracking data is Stanza's chosen medium for these process-led artworks. You are my subject uses data from a single fixed camera in New York, focusing on subjects as they pass below it. Authenticity [Trying to imagine the world from everyone elses? perspective, all at once] draws its imagery from cameras all over London. Other works can be viewed in a web browser via the Internet and turn us all into voyeurs of eerie 'parallel realities'. ?CCTV systems are everywhere in the public domain. Millions of hours worth of data are recorded every day by these cameras. We are all unwitting bit part actors, in the filming of our own lives. Usually we cannot watch. The results are not collected for broadcast back to the public. Rather they are monitored, filtered, distributed and archived without our knowledge or permission. The city has millions of CCTV cameras. One can take the sounds and images off live web streams to offer them back to the public for new interpretations of the city. In essence the city of London can be imagined as the biggest TV station in existence.? About Stanza: Stanza is a London-based artist, who specialises in net art, multimedia, and electronic sounds. His award winning online projects have been invited for exhibition in digital festivals around the world, and Stanza also travels extensively to present his net art, lecturing and giving performances of his audiovisual interactions. His works explore artistic and technical opportunities to enable new aesthetic perspectives, experiences and perceptions within the context of architecture, data spaces and online environments. http://www.stanza.co.uk Awards: Videoformes Multimedia First prize France 2005, Netsa Dreamtime 2004, Art In Motion V.First prize USA 2004, Vidalife 6.0 first prize 2003, Fififestival Grand Prize France 2003, New Forms Net Art Prize Canada 2003, Fluxus Online first prize Brasil 2002, SeNef Online Grand Prix Korea 2002, Links first prize Porto 2001, Videobrasil Sao Paulo 2001 first prize, Cynet art 2000 first prize, Dresden. Stanza: Abuse of the Public Domain AT HTTP Gallery. For more information and images, please contact Stéphanie Delcroix, stephanie AT furtherfield.org or 0207 700 7859. Open Friday to Sunday 12noon-5pm. HTTP [House of Technologically Termed Praxis] is one of London's foremost galleries dedicated to showing net art, new media and sound art. HTTP was opened on the initiative of Furtherfield (http://www.furtherfield.org) in the vibrant and culturally diverse Green Lanes area of North London. HTTP works with a wide range of artists and audiences to explore the potential of current network technology and to promote distributed creativity. HTTP is supported by Arts Council of England. Furtherfield is an online platform for the creation, promotion and criticism of net art, new media and sound art. http://www.http.uk.net/ Getting to HTTP:// Tube: Manor House Buses: 341, 141 Train: Haringey Green Lanes. http://www.http.uk.net/docs/gettingto.htm Past Exhibitions at HTTP: http://www.http.uk.net/docs/exhib7/exhibitions7.htm + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 07-11 Nov 2005 From: carlos katastrofsky <carlos.katastrofsky AT gmx.net>, judsoN <office AT plasmastudii.org>, Regina Pinto <reginapinto AT arteonline.arq.br>, patrick lichty <voyd AT voyd.com>, Luís da Silva <silva.luis AT netcabo.pt>, Lee Wells <lee AT leewells.org>, G.H. Hovagimyan <ghh AT thing.net>, Rob Myers <rob AT robmyers.org>, Jim Andrews <jim AT vispo.com>, t.whid <twhid AT twhid.com>, Pall Thayer <p_thay AT alcor.concordia.ca>, Geert Dekkers <geert AT nznl.com> Subject: 10 questions a net.artist has to be aware of + carlos katastrofsky posted: + 1) what is it? 2) why is it art? 3) is programming art? 4) why are you doing that? 5) who is paying for such a s**t ? 6) do you make a lot of money with your art? 7) are you famous? 8) what are you talking about? 9) are you a hacker ? (read: are you a criminal/ terrorist?) 10) have you ever had sex? + judsoN replied: + seems like your kidding, but kinda not kidding. seriously, i actually don't think any of these questions should be answered until AFTER several years of making "net.art". like kids discouraging themselves by saying "this finger painting is bad". practice and you get better. don't discourage practicing. computers and the web are just more materials to get used to. and so few appear used to them even still. but the need to put it out there is really dubious. the litmus test questions are really: why distribute it? what is there to gain from this particular piece for not only the artist, but the audience? would my grandmother enjoy this or ask "what is it"? if not her, are they people who think like me/have the same perspectives/assumptions or an audience of people outside my supportive club? everything has a target audience, whether we intend it or not. so the first thing we learn is that that audience doesn't have to be OURSELVES. and then we practice, we gradually learn to identify, listen. understand that audience. i'm still on that path, but far further than i was 5 years ago. i've been learning for 10+ years now, and it never ends. and it's a good challenge to work within, that non practicing "net.artists" generally don't sympathize or "get" the web/computers. people should feel free to experiment and play, without all this encouragement to show everyone. when everyone is fluent in programming (just the words you type to tell those grey boxes you sit with ever day what you want from them), people will "get" more. those people should play too, without the goal of being "an artist". instead, all too often "net.artists" go for the easy option and pick an ideal audience, often pretty much just themselves. finding words for and about the art is counter-productive. never mind what it is, if eventually you are going to make things people are interested in. + Regina Pinto noted: + Hello, Read the article: "The Web.Artist Craft: some considerations" at: http://www.sporkworld.org//index.php and browser at: http://arteonline.arq.br/web_art_considerations/ to visit a work in progress about this subject. + patrick lichty replied: + Interesting questions, but almost too much like a net.chainmail. Here goes: 1) what is it? Depends on your context, the way you look at it, etc. I can only go half way on this - the rest is up to you. 2) why is it art? To paraphrase Cage, "What else would it be?" 3) is programming art? Some programming is art, but not all art is programming. 4) why are you doing that? Because I can't see myself doing many other things with such conviction. 5) who is paying for such a s**t ? The two asterisks leave open a lot of words. Shit, Shot, Slut, Shut, Slot, Scot, Spot (my favorite), Spit, Spat, Scat... I am - as usual. 6) do you make a lot of money with your art? Occasionally, but not lately. 7) are you famous? Sometimes, but a lot of people don't realize it's me. 8) what are you talking about? Again, depends on the context. Futures of grad students, synnoetics, codes and deconstruction, transhumanism, Spinach pie, djembe drumming, multiple human/machine languages, culture jamming, VJ culture, my cat's illness, and so on. What are you talking about in asking this? 9) are you a hacker ? (read: are you a criminal/ terrorist?) Would I really tell you if I were? Not the best question. Also, hacking is not necessarily criminal. Look at makezine.com. 10) have you ever had sex? Sure, after I quite my job at Wal-Mart as a stock boy, dropped my Ritchie book on C programming, and quit the Star Trek club... Another odd question. Why should I say so? Ask my wife. She's the best judge of this. + Luís da Silva responded: + Why should a net artist be awareof these questions? I think I am missing the point :P + carlos katastrofsky replied: + this was a kind of an emotional statement, partly to the readers, partly to myself. sometimes i'm missing questions that people on the street would ask, so i asked myself which questions this could be and which clichés are around this type of art... so, to me it's like this: 1, 2, 4, 5, 6, 7, 8 are standard questions about works from the art - field 3, 9, 10 are more related to net (or even web-) art. (two notes: 9) i personally don't think a hacker is a criminal - far away from that. but normally for most of the people it's like hacker = cracker = bad = ... 10) deals with the "nerd" - clichè: people sitting in front of their computers with no contacts to the "real" world) (surely these 10 questions are not enough, but it was just a momentary reaction) and, yes: judsoN, i think you said much of what i am not able to say this way (my english, writing skills...) thanks for reacting! + Lee Wells replied: + Is it just as nerdy to be a painter or writer that locks themselves up in their studio. The internet also does add up to some very personal sexual experiences. + judsoN replied: + we need a lot more people making computer art. most computer art is pretty bad. if you think about all the bob rosses and weekend nature water colorists most paintings are pretty bad too. but that's how the world is and that's cool. too much emphasis on quality is just discouraging. being bad is fine. however, there are so many painters that if even 5% are good, that's still a huge number. if 5% of net.artists are good that might be someone's little toe. more artists have more art to take as an example. the quality of the art doesn't matter. simply more examples will be helpful to us all. carlos: would it be more or less effective of a piece if you did it in a language of your choice? open to list: not that these very questions don't occur to many of us along the way in our development. but the vast majority of folks (a few of whom considering themselves net.art-friendly) have never actually gotten very deep into the process of creating computer art. they can (rightly so) barely imagine it. whereas we all can pretty well imagine how we bring in what we see, experiences and translate them into graphics on paper, canvas, etc. we can easily relate to what makes a michaelangelo sculpture impressive. many can further appreciate the conceptual leaps of a given contemporary artist, as beyond the obvious but a culmination of extensive thought. they just imagine typing code (hitting keys is hardly impressive), but not the logic puzzles doing it (hitting keys is merely a vehicle to get to the logic of how to say things literally and explicitly); but appreciation for these logic puzzles only comes with practice. how many curators can make an ball on the screen move in a circle using only text? now, how many get exactly why deciding what a machine's favorite color is beyond what can be coded? how many see exactly why animating how birds fly in flocks with no leader, is a challenge to make code-able? the creativity comes from pushing the border of what is code-able and what is not. but if a person has no clear notion of the details of that border, they can only make a wild guess based on areas they do know. actually, "who is paying for it?" is a VERY important question. but really it is for the person on the road to making a career of art. wondering, after years of steady playing, if they should call it a hobby or commit effort to another side of the work. but it's important because someone out there has to be convinced of the value or potential value of a piece. the proposal is really not the art, it is the marketing for the art. concepts that are related to art like a dense smoke and fire. fire is generally accompanied by smoke, but the reverse is hardly a given. smoke obscures seeing anything, particularly finding the fire. all language distorts and obscures all art (but some artists are after just that.) the folks who write the check, may not (and often don't) have much exposure to computer art compared to other traditional forms, they tend to see CA as a variant of visual art that can be summed up in a still image, slide or even video, audio art that is represent-able with a linear recording, or conceptual art, that can be summed up in verbiage. so, in a round about way of applying a different perspective to your question, often the road to answering "who pays?" is a different, but tangentally related skill, than creating it. like smoke and fire. asking if net.art is programmed, is actually like asking if the winner of the kentucky derby rode a living horse. i guess there's always the remote possibility that all the other horses died on the track too. but silly to consider. not programming seems silly too. programming is simply the way to talk to one kind of machine. few other machines react much when you talk to them. you CAN have a computer and choose to use it as a door stop. but at these prices, i can recommend a far cheaper alternative. i can't recommend a better machine for reacting to what you tell it. it's not that computers should be programmed on at all, but that programming has to be on a computer, and computers are expensive. so if you aren't programming, there are better ways to spend your money/time than a computer. if you want to do something that involves interactivity, auto-generation, extensive calculating, dynamically unpredictable graphics, i can recommend these machines. unfortunately, with net.art, many people have IP accounts, but do not take much advantage of what they can do with them. the gap is probably as wide, if not wider. but folks seem even more content with their lack of use. for most, the extent seems to be choosing whether or not to "skip intro" on a flash animation or hyperlinks that simply are the equivalent of page turning. blogs primarily used to simply make our most trivial diary blather public. seems like an enormous waste. but technology seems to promote throwing away cash. + G.H. Hovagimyan replied: + Computer programing and art are two different methods of thinking and perception. When you write a program you already know what the result will be. Art doesn't function in the same way. Often an artist uses chance and accidents to create new ways of thinking and perception. Art is an ongoing cultural discussion. Computer art, digital art etc. needs to engage in the larger cultural discourse. Your statements about "good or bad" painting/computer art begs the question who is the judge? Usually in a larger cultural discourse there is an ongoing debate about what constitutes "good" art. I find the insistence by some in the digital art realm that only people who know programming are truly digital artists to be rather narrow minded. The "who signs the checks" question is really amusing. Think about what the support structures are for art. You have collectors, museums, and governments. You can add the University and Academic realm as a support structure for art. Right now digital art has the most support from the Academic structure. In other words you get a teaching job. Once the novelty of using computers in art works wears off (which it has ) the question becomes how does digital art challenge and advance the art discourse. That's a much larger dscussion than whether someone knows programming or how a computer repaints a screen. + Rob Myers replied: + > Computer programing and art are two different methods of thinking > and perception. Unless you are creating a program to make art. Painting and art are two different modes of thinking and perception. Otherwise every wall is a masterpiece. > When you write a program you already know what the result will be. Even for a functional program like Emacs this is not the case. And for art hacking it may certainly not be the case. Software may, and often will, be unexpected. Only corporate managerialism prevents this. > Art doesn't function in the same way. It depends what kind of art. > Often an artist uses chance and accidents to create new ways of > thinking and perception. This is the same as programming. A complex program will make demands and afford possibilities during development that could not be predicted. > Art is an ongoing cultural discussion. As is computing. If there are domains outside cultural discussion, this would be a very interesting phenomenon. > Computer art, digital art etc. needs to engage in the larger > cultural discourse. The larger "discourse" needs to take notice of computer/digital culture *and its content*. > Your statements about "good or bad" painting/computer art begs the > question who is the judge? Why? If standards are established, any competent individual can judge. Unless we are assuming an institutional theory of art, in which case computing can simply be nominated as art. > Usually in a larger cultural discourse there is an ongoing debate > about what constitutes "good" art. Yes, the market demands this. If each season doesn't bring new fashions, sales will drop. > I find the insistence by some in the digital art realm that only > people who know programming are truly digital artists to be rather > narrow minded. Why? If someone who did not know about the support structures of art made pronouncements on support structures their ignorance would not be a badge of honor. > The "who signs the checks" question is really amusing. Think about > what the support structures are for art. You have collectors, > museums, and governments. You can add the University and Academic > realm as a support structure for art. Right now digital art has the > most support from the Academic structure. In other words you get a > teaching job. This puts digital art on a par with science, literature and "critical" "discourse". Hardly a bad thing. > Once the novelty of using computers in art works wears off (which > it has ) the question becomes how does digital art challenge and > advance the art discourse. For people who are interested in "challenge, "discourse" and "advance". But there are more serious concerns for an art that regards itself as not simply a lackspace for the projection of the critical/market ego into. > That's a much larger dscussion than whether someone knows > programming or how a computer repaints a screen. But it is a different discussion. I can't decide whether trying to bring art computing to its heel is parochial or imperialistic. + Jim Andrews replied: + > Computer programing and art are two different methods of thinking > and perception. You're very quick to drive a wedge between programming and art. > When you write a program you already know what > the result will be. I have hundreds of files that consist of experiments in programming like i have hundreds of files that consist in experiments in writing. Far fewer finished pieces of each. When you read a published piece of writing or a published work of computer art, you can be fooled that the author knew what the result would be and just sat down and wrote it out, but that's not the way it proceeds. Much changes in the writing. This is true in art and programming. Unless, of course, it's someone else's idea that they just want written out. Imagine if it were typical that the artist just worked on the conceptual level and gave the painter or the musician or whomever instructions on what they wanted. Here, make a piece with these qualities and properties. The results would be pretty boring. > Art doesn't function in the same way. Often > an artist uses chance and accidents to create new ways of > thinking and perception. So does an artist-programmer. > Art is an ongoing cultural discussion. Yes it is. > Computer art, digital art etc. needs to engage in the larger > cultural discourse. Sure. > Your statements about "good or bad" painting/computer art begs > the question who is the judge? Usually in a larger cultural > discourse there is an ongoing debate about what constitutes "good" art. > I find the insistence by some in the digital art realm that only > people who know programming are truly digital artists to be > rather narrow minded. I don't know any artist-programmers who believe that. But the good digital artists who aren't programmers understand that the art of programming is very important in works that involve programming, and they do not try to relegate it to a technician position but, instead, work with the programmers as artists. If they don't, that arrogance will get them nowhere. It certainly won't allow the production of significant art. If the programmer is indeed an artist, not simply a technician, then you can see how that would go. Basically nowhere slowly. If the programmer is a technician, it goes nowhere quickly. > The "who signs the checks" question is really amusing. Think > about what the support structures are for art. You have > collectors, museums, and governments. You can add the University > and Academic realm as a support structure for art. Right now > digital art has the most support from the Academic structure. In > other words you get a teaching job. I think I'm missing your point. Are you saying artists should get jobs teaching? To be able to sign the checks? > Once the novelty of using computers in art works wears off (which > it has ) the question becomes how does digital art challenge and > advance the art discourse. That's a much larger dscussion than > whether someone knows programming or how a computer repaints a screen. Ah, well, nice to know what the question is. Thanks. + t.whid replied: + re: need to know programming to be a digital artist? This has been a discussion around here for a while. Here's a short post on my blog from.. it's says august of this year, but that can't be right... oh well the blog is f'd up: http://www.mteww.com/mtaaRR/news/twhid/programming_and_digital_art.html In the post I argue that to make the analogy btw 'code' and 'paint' is faulty. The real analogy is between 'code' and 'form', that is, knowing programming as a digital artist is akin to knowing 2d formal theory as a painter (color, shape, line etc). Obviously a painter doesn't need to understand 2d form to be a painter (a quick tour of Chelsea will prove that). One doesn't need to know it to be a *good* painter either (Darger being a somewhat flawed example). One doesn't need to know programming to be a digital artist. So the question goes back to what GH said, look at a thing in a larger discourse (not nm art, not digital art -- but art) and decide if you think it's good. But some types of work need programming skills by the artist and even the audience. I think much net art, if you don't *really* understand how the Internet works, you won't get. If part of the subject of the work is computer languages, the Internet or if computation is part of the work the audience won't understand it if they don't grasp certain concepts. I think GH is arguing for a 'big tent' sort of philosophy -- include everyone working in digital art? But that begs the question if we're urging folks to remove nm art from the nm ghetto, then why would you want to be in the tent at all? On the other hand, there's nothing more annoying than having computer programmers look at nm or software art and judge it using standards of programming rather than look at it as art. For example, when Galloway released Carnivore, it was slashdotted. Many of the geeks there judged it by it's (to them) rather simple structure ('it's just a wrapper to some tcp-ip sniffer tool, etc blah, blah, etc'). They obviously missed the point. + Pall Thayer replied: + Digital art is an extremely broad term. It's a bit like saying that all sculptors have to know how to carve stone or that all painters have to know how to draw. However, although both of these statements sound quite absurd, it is possible to find a tiny shimmering of truth in them. Both of these things provide a fundamental understanding of the respective fields. Call me old-school, but I still believe that drawing is a fundamental artistic process and when I meet someone with a degree in visual arts who has never drawn a nude or still life in an academic setting, I find that absurd. To me it's like learning multiplication without learning addition first. I'm not saying that to be an artist you have to be good at drawing, just familiar with it as a process of visualizing things. In the same way, I think that programming is a fundamental process in digital arts. You don't have to be good at it, but it will give you added insight into how a computer works. It tells you what's going on under the hood and the more artists know about their medium, the more compelling the work is going to be. Remember when various institutions were soliciting ideas from artists for internet-based artwork? They always said that the artist wouldn't have to produce the work, they could get a computer programmer to do that. The artist just had to provide the idea. All of that work was garbage. Something gets lost in the translation between artist and programmer. G. H. Hovaginyam's statement, "Computer programing and art are two different methods of thinking and perception." is right as long as your talking about computer programming by a computer programmer and art by an artist. But an artists methods of thinking and perception remain the same whether he/she's painting, sculpting, writing or programming. So, no. A digital artist doesn't need to know how to program. However, I think he/she would only benefit from knowing about programming and the more the better. However, if we change the discussion to programmed art, specifically. Then yes, the artist needs to know how to program. + Jim Andrews replied: + Computing is much more radical a departure from old media than is commonly appreciated. There is no proof, and probably never will be, that there are thought processes of which humans are capable and computers are not. So it isn't simply a matter of the poem departing from the page (or the painting from the canvas, etc) and taking on a slight change of properties owing to a change in medium. It also involves the page departing from the poem, as it were. The medium itself--computing--is as the stuff of the living. It can reproduce or alter itself. It can change its own code. It can do anything thinkable, can think anything thinkable and then some. Writing poems on an animal is a vain and pointless exercise. This animal is a language machine. Poetry and poetics, in such a situation, need take some very lively turns. And analogies that basically preserve the notion that computing is very like old media miss the radical departure. They just miss it. Digital art can be radically different from what has gone before. Computing isn't simply an art medium but the protean itself. It is possible to understand this without knowing how to program or knowing any computer science. But to really act on it, the more you know, the better. + carlos katastrofsky replied: + hi, just a few notes on the comments to the "10 questions": ------------ AT judsoN > would it be more or less effective of a piece if you did it in a language of your choice? this is a bit difficult to answer for me. a piece of net.art itself isn`t more or less effective in different languages, unless it deals with the additional layer of "language" itself. but language is a point in making net - related art. to me its very important to discuss some pieces because a kind of "audience" is always a part of it. either the people i discuss with on different topics or the ones who look at my stuff and react upon it. in this sense the language makes a piece more effective,because if i do something in english more people react to it. i tried many times to start discussions or presenting pieces on german (which is my native language) mailinglists. the only answers came from a troll... and, in fact, real >discussions< on these lists are generally very rare. ----------- painting vs. coding - is programming just a skill or an artistic process? i think both is possible. i once got to know a sculptor who made exactly the sculptures he had (eidetic) in mind/ planned. so sculpting was just a tool to visualize his thoughts/ cocepts. on the other hand there are many who use sculpting as a process. i think it's the same with programming, so in my opinion the question if someone has to have programming skills or not to be a "new media" - artist isn't the point. important is just the quality of what he/ she does (and i don't think here in "good" or "bad" - terms). ------------ "art" to me it's very interesting that most of the people here use the term "art" for their work. i'm far from judging if something is actually art or not, but why "art"? in my opinion the term itself focusses (strictly seen) on something that began with the renaissance and ended in the 19th century - l'art pour l'art. before this it was just an attribute of religion, afterwards it's more a kind of discourse. + Geert Dekkers replied: + I think "art" is just a name for a certain class of products. I do realize that the word has been weighted by the romantic history of "art" -- and to use this word still has a certain haughtiness about it. I hope -- for myself -- to get rid of this weight, and just use the word as another might use a word like "bookkeeping" or "construction work". Furthermore, I think getting rid of the weight or content of the word "art" could be an artistic project. Thoughout history we've seen this "emptying out" happening time and time again. Examples? Perhaps not Barnett Newman (see http://nznl.com for a long list of my pre-suppositions and preconceptions on this subject...). so much as a figure like Blinky Palermo, assembling what may be called "dummy" abstract paintings. http://images.google.com/images?q=blinky%20palermo http://nznl.com/geert/pop.php?dag=20051003 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 10, number 45. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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