BIO
Curt Cloninger is an artist, writer, and Associate Professor of New Media at the University of North Carolina Asheville. His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. His art work has been featured in the New York Times and at festivals and galleries from Korea to Brazil. Exhibition venues include Centre Georges Pompidou (Paris), Granoff Center for The Creative Arts (Brown University), Digital Art Museum [DAM] (Berlin), Ukrainian Institute of Modern Art (Chicago), Black Mountain College Museum + Arts Center, and the internet. He is the recipient of several grants and awards, including commissions for the creation of new artwork from the National Endowment for the Arts (via Turbulence.org) and Austin Peay State University's Terminal Award.
Cloninger has written on a wide range of topics, including new media and internet art, installation and performance art, experimental graphic design, popular music, network culture, and continental philosophy. His articles have appeared in Intelligent Agent, Mute, Paste, Tekka, Rhizome Digest, A List Apart, and on ABC World News. He is also the author of eight books, most recently One Per Year (Link Editions). He maintains lab404.com, playdamage.org , and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder.
Cloninger has written on a wide range of topics, including new media and internet art, installation and performance art, experimental graphic design, popular music, network culture, and continental philosophy. His articles have appeared in Intelligent Agent, Mute, Paste, Tekka, Rhizome Digest, A List Apart, and on ABC World News. He is also the author of eight books, most recently One Per Year (Link Editions). He maintains lab404.com, playdamage.org , and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder.
trace #3 (ouroboros: self-referrring reflex)
ONE ALWAYS LIES AND ONE ALWAYS TELLS THE TRUTH. YOU CAN ASK ONE
QUESTION ONLY." PIECE
+++++++
http://www.google.com/search?hl=en&q=google&btnG=Google+Search
http://www.mapquest.com/maps/map.adp?latlongtype=internal&addtohistory=&latitude=3hneA%2fTv3i0LcJ6U6Vyhjg%3d%3d&longitude=5oksCkOCm8cQP4c6sDR0ZA%3d%3d&name=MapQuest%2c%20Inc%2e&country=US&addressU5%2017th%20Street%20%231600&cityTHnver&state=CO
http://www.ask.com/web?q=what+is+ask.com%3F&qsrc=0&o33&l=dir
http://amazon.com/s/ref=nb_ss_gw/002-3172283-1691222?url=search-alias%3Daps&field-keywords=amazon&Go.x=0&Go.y=0&Go=Go
[Capitalism made to perform its own inadvertent self-critique. Pop
will eat itself (if the price is right).]
http://en.wikipedia.org/wiki/Wikipedia.org
http://dictionary.reference.com/browse/dictionary
http://thesaurus.reference.com/browse/thesaurus
http://www.biblegateway.com/quicksearch/?quicksearch=bible&qs_version=9
[wait for it]
http://rhizome.org/thread.rhiz?thread&039
+++++++
QUESTION ONLY." PIECE
+++++++
http://www.google.com/search?hl=en&q=google&btnG=Google+Search
http://www.mapquest.com/maps/map.adp?latlongtype=internal&addtohistory=&latitude=3hneA%2fTv3i0LcJ6U6Vyhjg%3d%3d&longitude=5oksCkOCm8cQP4c6sDR0ZA%3d%3d&name=MapQuest%2c%20Inc%2e&country=US&addressU5%2017th%20Street%20%231600&cityTHnver&state=CO
http://www.ask.com/web?q=what+is+ask.com%3F&qsrc=0&o33&l=dir
http://amazon.com/s/ref=nb_ss_gw/002-3172283-1691222?url=search-alias%3Daps&field-keywords=amazon&Go.x=0&Go.y=0&Go=Go
[Capitalism made to perform its own inadvertent self-critique. Pop
will eat itself (if the price is right).]
http://en.wikipedia.org/wiki/Wikipedia.org
http://dictionary.reference.com/browse/dictionary
http://thesaurus.reference.com/browse/thesaurus
http://www.biblegateway.com/quicksearch/?quicksearch=bible&qs_version=9
[wait for it]
http://rhizome.org/thread.rhiz?thread&039
+++++++
trace #2 (conceptual art redux: sans-object/performance/concept)
FAUX-SIMULACRUM (HEADLESS PRAYING MANTIS PLAYING POSSUM) PIECE
+++++++++
Instructions:
1.
Make a series of online documentations (complete with photographs,
videos, artist statements, dates, locations) of staged offline
gallery performances and installations that never actually occur.
These fake performances should (not) occur in places like
Waynesville, North Carolina, or Big Arm, Montana, -- places that
aren't likely to be visited by anyone with a mind to verify anything.
Incrementally post announcements of these exhibits with links to
their online documentation at rhizome.org.
2.
Next, declare the whole series of fake art projects part of an
overarching real art project and exhibit that project in some real
art gallery somewhere likely to be visited by someone with a mind to
verify something. Put a bunch of computers in the real gallery, each
displaying one of the online documentations of the fake shows.
3.
Next, document that real show and upload its documentation alongside
the documentation of the fake shows.
4.
Next, write a Borges-esque critique of the entire project, replete
with cryptic details, hallucinatory in their vague specificity.
Explain how, to fluxus artists, "the textual... recording of a work's
production... [is] as much part of the finished 'art work' as the
object or event itself." Reference Baudrillard. Post the critique
to rhizome.org.
5.
Wait a few days, and then post an announcement to rhizome.org that
the previous critique of the project was really all there was to the
project. There was no overarching real show of various fake shows.
There weren't even any real fake shows.
6.
On second thought, don't even write the fake critique. Instead, post
an anouncement to rhizome.org stating that there is no critique
(real, fake, or otherwise). Instead, the very email announcing that
there is no critique constitutes the project itself.
7.
This email is that announcement. This email constitutes the project itself.
8a.
Briefly consider not even posting this email and letting the
non-event of its non-posting constitute the project itself.
8b.
Change your mind, but still include the fact that you considered not
posting this email, thus inscribing a trace of your hesitation into
the project itself (namely, the posting of this email), and
suggesting to those reading this email the possibility of an
alternative non-event wherein you didn't really post this email.
9.
Really post this email.
+++++++++
+++++++++
Instructions:
1.
Make a series of online documentations (complete with photographs,
videos, artist statements, dates, locations) of staged offline
gallery performances and installations that never actually occur.
These fake performances should (not) occur in places like
Waynesville, North Carolina, or Big Arm, Montana, -- places that
aren't likely to be visited by anyone with a mind to verify anything.
Incrementally post announcements of these exhibits with links to
their online documentation at rhizome.org.
2.
Next, declare the whole series of fake art projects part of an
overarching real art project and exhibit that project in some real
art gallery somewhere likely to be visited by someone with a mind to
verify something. Put a bunch of computers in the real gallery, each
displaying one of the online documentations of the fake shows.
3.
Next, document that real show and upload its documentation alongside
the documentation of the fake shows.
4.
Next, write a Borges-esque critique of the entire project, replete
with cryptic details, hallucinatory in their vague specificity.
Explain how, to fluxus artists, "the textual... recording of a work's
production... [is] as much part of the finished 'art work' as the
object or event itself." Reference Baudrillard. Post the critique
to rhizome.org.
5.
Wait a few days, and then post an announcement to rhizome.org that
the previous critique of the project was really all there was to the
project. There was no overarching real show of various fake shows.
There weren't even any real fake shows.
6.
On second thought, don't even write the fake critique. Instead, post
an anouncement to rhizome.org stating that there is no critique
(real, fake, or otherwise). Instead, the very email announcing that
there is no critique constitutes the project itself.
7.
This email is that announcement. This email constitutes the project itself.
8a.
Briefly consider not even posting this email and letting the
non-event of its non-posting constitute the project itself.
8b.
Change your mind, but still include the fact that you considered not
posting this email, thus inscribing a trace of your hesitation into
the project itself (namely, the posting of this email), and
suggesting to those reading this email the possibility of an
alternative non-event wherein you didn't really post this email.
9.
Really post this email.
+++++++++
trace #1 (vito acconci bulldog psychogeography remix)
On May 24, 2007, I was running and a dog bit me here:
http://lab404.com/misc/ruff.jpg
http://www.flashearth.com/?lat5.536277&lon=-82.855698&z.5&r=0&src=msa
http://lab404.com/misc/ruff.jpg
http://www.flashearth.com/?lat5.536277&lon=-82.855698&z.5&r=0&src=msa
Re: Fwd: RHIZOME_RAW: i am a martial artist
http://www.threadless.com/product/601/zoom.gif
+++++
joe wrote:
We think it should be the lyrics from Neil Young's Rockin' in the Free World.
+++++
joe wrote:
We think it should be the lyrics from Neil Young's Rockin' in the Free World.
i am a martial artist
If loving this t-shirt is wrong, I don't want to be right:
http://www.karatedepot.com/cl-ts-12.html
The poem is included below. I've taken the liberty of changing
"martial" to "new media."
++++++
"I am a new media artist." I see through different eyes. I see a
bigger picture when others see grey skies. Though many can't conceive
it, I stand...facing the wind. My bravery, not from fighting, but
from my strength within. I am a new media artist. I'll walk the extra
mile. Not because I have to, but because it's worth my while. I know
that I am different, when I stand on a crowded street. I know the
fullness of winning, I've tasted the cup of defeat. I am a new media
artist. They say I walk with ease. Though trained for bodily harm, my
intentions are for peace. The world may come and go, but a different
path I'll choose. A path I will not stray from, no matter, win or
lose.
-Master Karen Eden
++++++
That entire thing should be the new rhizome slogan. Just ditch
"connecting art & technology" and replace it with that poem.
Trained for Bodily Harm,
Curt
http://www.karatedepot.com/cl-ts-12.html
The poem is included below. I've taken the liberty of changing
"martial" to "new media."
++++++
"I am a new media artist." I see through different eyes. I see a
bigger picture when others see grey skies. Though many can't conceive
it, I stand...facing the wind. My bravery, not from fighting, but
from my strength within. I am a new media artist. I'll walk the extra
mile. Not because I have to, but because it's worth my while. I know
that I am different, when I stand on a crowded street. I know the
fullness of winning, I've tasted the cup of defeat. I am a new media
artist. They say I walk with ease. Though trained for bodily harm, my
intentions are for peace. The world may come and go, but a different
path I'll choose. A path I will not stray from, no matter, win or
lose.
-Master Karen Eden
++++++
That entire thing should be the new rhizome slogan. Just ditch
"connecting art & technology" and replace it with that poem.
Trained for Bodily Harm,
Curt