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.
Re: Re: UNIVERSAL ACID COUNTDOWN!!!!!!!
i couldn't resist:
http://playdamage.org/65.html
abe wrote:
> post y2k6 keerraash update:::
>
> our intel sources tell us it was a combo of some elite french
> hackers,
> the mexican wi-fi flu, and all the combined computers of the austrian
> and Australian nations that brought down the site with one hour left
> of
> the performance.
>
> i am happy to report that we are now fully operational and our servers
> are being guarded by 4, yes 4, m.i.t. nerdjas (half nerds half ninjas
> that can code in machine language with the left hand while fighting
> off
> up to 8 men with their right).
>
> http://universalacid.net
>
> goodluck and goodnight,
> abe
http://playdamage.org/65.html
abe wrote:
> post y2k6 keerraash update:::
>
> our intel sources tell us it was a combo of some elite french
> hackers,
> the mexican wi-fi flu, and all the combined computers of the austrian
> and Australian nations that brought down the site with one hour left
> of
> the performance.
>
> i am happy to report that we are now fully operational and our servers
> are being guarded by 4, yes 4, m.i.t. nerdjas (half nerds half ninjas
> that can code in machine language with the left hand while fighting
> off
> up to 8 men with their right).
>
> http://universalacid.net
>
> goodluck and goodnight,
> abe
the earth is not a cold dead place [sugarloaf_mountain remix]
http://g-images.amazon.com/images/G/01/ciu/81/ed/53f792c008a07ac1b8672010.L.jpg
http://old.kak.ru/images/archive/3/artmarafon/39.jpg
http://www.loc.gov/exhibits/flw/images/dsugar1.jpg
http://www.loc.gov/exhibits/flw/images/flw0106d.jpg
http://upload.wikimedia.org/wikipedia/en/e/e2/Michelino_DanteAndHisPoem.jpg
http://www.loc.gov/exhibits/flw/images/flw0083.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-34s.jpg
http://www.msubillings.edu/art/images/Art%20History/Andy_Goldsworthy_Rowan_Leaves_with_Hole.jpg
http://www.loc.gov/exhibits/flw/images/flw0089.jpg
http://snowsaw.com/Goldsworthy/Goldsworthy-Images/2.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-01s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum07.jpg
http://www.loc.gov/exhibits/flw/images/flw0093.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-28s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum06.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-31s.jpg
http://blog.whatfettle.com/archives/stone-circle.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum05.jpg
http://www.loc.gov/exhibits/flw/images/flw0169.jpg
http://static.flickr.com/22/24472253_1ab35a7c47_m.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-12s.jpg
http://courses.albion.edu/Archived_Fall2001/la101enviroart/images/goldsworthy-pepples.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-21s.jpg
http://snowsaw.com/Goldsworthy/Goldsworthy-Images/0.jpg
http://www.loc.gov/exhibits/flw/images/flw0087.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-29s.jpg
http://www.loc.gov/exhibits/flw/images/flw0098.jpg
http://courses.albion.edu/Archived_Fall2001/la101enviroart/images/goldsworthy-snowsticks.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-25s.jpg
http://www.loc.gov/exhibits/flw/images/flw0095.jpg
http://www.f5wichita.com/issues/2004-11-04/images/arts-goldswarthy.jpg
+++++++++++++++++++++++++++++
http://www.loc.gov/exhibits/earthasart/images/eaa-26s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum07.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-24s.jpg
http://old.kak.ru/images/archive/3/artmarafon/29.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-19s.jpg
http://www.loc.gov/exhibits/flw/images/flw0100.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-18s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum04.jpg
http://www.loc.gov/exhibits/flw/images/flw0101.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-36s.jpg
http://www.loc.gov/exhibits/flw/images/flw0103.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-06s.jpg
http://old.kak.ru/images/archive/11-12/posmodern/la49.jpg
http://g-images.amazon.com/images/G/01/ciu/e1/05/fda992c008a0b44de7795010.L.jpg
http://angels-gone.com/explosionsinthesky/media/EITS_live@Reckless_Records.wmv
_
http://old.kak.ru/images/archive/3/artmarafon/39.jpg
http://www.loc.gov/exhibits/flw/images/dsugar1.jpg
http://www.loc.gov/exhibits/flw/images/flw0106d.jpg
http://upload.wikimedia.org/wikipedia/en/e/e2/Michelino_DanteAndHisPoem.jpg
http://www.loc.gov/exhibits/flw/images/flw0083.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-34s.jpg
http://www.msubillings.edu/art/images/Art%20History/Andy_Goldsworthy_Rowan_Leaves_with_Hole.jpg
http://www.loc.gov/exhibits/flw/images/flw0089.jpg
http://snowsaw.com/Goldsworthy/Goldsworthy-Images/2.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-01s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum07.jpg
http://www.loc.gov/exhibits/flw/images/flw0093.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-28s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum06.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-31s.jpg
http://blog.whatfettle.com/archives/stone-circle.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum05.jpg
http://www.loc.gov/exhibits/flw/images/flw0169.jpg
http://static.flickr.com/22/24472253_1ab35a7c47_m.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-12s.jpg
http://courses.albion.edu/Archived_Fall2001/la101enviroart/images/goldsworthy-pepples.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-21s.jpg
http://snowsaw.com/Goldsworthy/Goldsworthy-Images/0.jpg
http://www.loc.gov/exhibits/flw/images/flw0087.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-29s.jpg
http://www.loc.gov/exhibits/flw/images/flw0098.jpg
http://courses.albion.edu/Archived_Fall2001/la101enviroart/images/goldsworthy-snowsticks.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-25s.jpg
http://www.loc.gov/exhibits/flw/images/flw0095.jpg
http://www.f5wichita.com/issues/2004-11-04/images/arts-goldswarthy.jpg
+++++++++++++++++++++++++++++
http://www.loc.gov/exhibits/earthasart/images/eaa-26s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum07.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-24s.jpg
http://old.kak.ru/images/archive/3/artmarafon/29.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-19s.jpg
http://www.loc.gov/exhibits/flw/images/flw0100.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-18s.jpg
http://old.kak.ru/images/archive/16/Gerstner/sum04.jpg
http://www.loc.gov/exhibits/flw/images/flw0101.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-36s.jpg
http://www.loc.gov/exhibits/flw/images/flw0103.jpg
http://www.loc.gov/exhibits/earthasart/images/eaa-06s.jpg
http://old.kak.ru/images/archive/11-12/posmodern/la49.jpg
http://g-images.amazon.com/images/G/01/ciu/e1/05/fda992c008a0b44de7795010.L.jpg
http://angels-gone.com/explosionsinthesky/media/EITS_live@Reckless_Records.wmv
_
MMAS@UNCA : student work, Fall 2005
Hi everybody on the rhizome list,
Here is some work I liked by my students this semester:
+++++++++++++++++++++++++++++++++++++++
"Postmodern Postcards" by Drew Kessinger:
http://www.postmodernpostcards.com
"Thairfax" by Gabe Clapper:
http://thairfax.gabeclapper.com
"Mote" by Joe Bowers:
http://culturematic.net/mote/home.html
Untitled by Greg Bliss:
http://mmas.unca.edu/~cloninger/438/art/greg_bliss/
(13.6 MB .swf, no preloader)
McLuhan exercise by Shawn Peters:
http://mmas.unca.edu/~cloninger/490/mcluhan/shawn_peters/
McLuhan exercise by Joe Bowers:
http://culturematic.net/pocket/mcluhan/
+++++++++++++++++++++++++++++++++++++++
Here are the pages for those classes:
http://lab404.com/438/
http://lab404.com/490/
And the site for our program:
http://mmas.unca.edu
curt
Here is some work I liked by my students this semester:
+++++++++++++++++++++++++++++++++++++++
"Postmodern Postcards" by Drew Kessinger:
http://www.postmodernpostcards.com
"Thairfax" by Gabe Clapper:
http://thairfax.gabeclapper.com
"Mote" by Joe Bowers:
http://culturematic.net/mote/home.html
Untitled by Greg Bliss:
http://mmas.unca.edu/~cloninger/438/art/greg_bliss/
(13.6 MB .swf, no preloader)
McLuhan exercise by Shawn Peters:
http://mmas.unca.edu/~cloninger/490/mcluhan/shawn_peters/
McLuhan exercise by Joe Bowers:
http://culturematic.net/pocket/mcluhan/
+++++++++++++++++++++++++++++++++++++++
Here are the pages for those classes:
http://lab404.com/438/
http://lab404.com/490/
And the site for our program:
http://mmas.unca.edu
curt
eternity in an instant
Hi all,
here is a recent essay:
http://lab404.com/articles/sms/
about this work:
http://stopmotionstudies.net
to appear in a book about this exhibition:
http://sequences.org.uk
curt
here is a recent essay:
http://lab404.com/articles/sms/
about this work:
http://stopmotionstudies.net
to appear in a book about this exhibition:
http://sequences.org.uk
curt
Re: Re: Re: Re: im_mobile
Hi Michael n' Jess,
http://playdamage.org is full of pop audio, but the source audio is transformed by lifting tiny, quintessential bits out of context, looping them (sometimes synchopatedly), and compressing their sound quality. So I'd see that more as the equivalent of the prelinger visual remix approach.
I do hate it when my students just put a full, high quality pop song as the background music for their pieces for no conceptual reason whatsoever. But the thing I like about Jess's piece is that the visuals are in such a weird intentional dialogue with the song. They are very tightly synched to the rhythm of the song, so much so that they almost feel like they are being driven by the audio via a synesthetic MAX/MSP bridge. And yet the content of the images is so un-outer-spacy.
I freely admit that Bowie is a guilty pleasure. Not just Low/Heroes era with Eno. I even like "China Girl."
curt
Michael Szpakowski wrote:
> I'm a fan of your work Jess as you know ( and I've
> enjoyed the other pieces I've seen in this series; got
> a bollocking here from T Whid in fact for enthusing
> about "lapdance"). It's such a fine point I'm not sure
> how worth pushing it is - I suppose rather than just
> burbling about how great the piece was I wanted to
> state some honest reservations.
> Having said that I can't *resist* one rejoinder & that
> is that the Prelinger archive stuff invariably
> involves me working on the material to transform it.
> For me the parallel here is with the visuals in your
> piece ( I think you said some of it was harvested from
> the web)
> The Bowie just sits there, nothing is done to it,
> *although* I accept and am thinking about Curt's point
> ( which I think you are making as well) about the
> visuals *illuminating* the sound, a kind of
> commentary..(thinks).. OK ... I'm coming round to it
> procedurally; back to *taste* on the actual work of
> Bowie , or marmite; now *that* I do so love.
> warmest wishes
> michael
http://playdamage.org is full of pop audio, but the source audio is transformed by lifting tiny, quintessential bits out of context, looping them (sometimes synchopatedly), and compressing their sound quality. So I'd see that more as the equivalent of the prelinger visual remix approach.
I do hate it when my students just put a full, high quality pop song as the background music for their pieces for no conceptual reason whatsoever. But the thing I like about Jess's piece is that the visuals are in such a weird intentional dialogue with the song. They are very tightly synched to the rhythm of the song, so much so that they almost feel like they are being driven by the audio via a synesthetic MAX/MSP bridge. And yet the content of the images is so un-outer-spacy.
I freely admit that Bowie is a guilty pleasure. Not just Low/Heroes era with Eno. I even like "China Girl."
curt
Michael Szpakowski wrote:
> I'm a fan of your work Jess as you know ( and I've
> enjoyed the other pieces I've seen in this series; got
> a bollocking here from T Whid in fact for enthusing
> about "lapdance"). It's such a fine point I'm not sure
> how worth pushing it is - I suppose rather than just
> burbling about how great the piece was I wanted to
> state some honest reservations.
> Having said that I can't *resist* one rejoinder & that
> is that the Prelinger archive stuff invariably
> involves me working on the material to transform it.
> For me the parallel here is with the visuals in your
> piece ( I think you said some of it was harvested from
> the web)
> The Bowie just sits there, nothing is done to it,
> *although* I accept and am thinking about Curt's point
> ( which I think you are making as well) about the
> visuals *illuminating* the sound, a kind of
> commentary..(thinks).. OK ... I'm coming round to it
> procedurally; back to *taste* on the actual work of
> Bowie , or marmite; now *that* I do so love.
> warmest wishes
> michael