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.
public service announcement from a dead junky
If, after having been exposed to someone's presence, you feel as if
you've lost a quart of plasma, avoid that presence. You need it like
you need pernicious anemia.
We don't like to hear the word "vampire" around here; we're trying to
improve our public image. Building a kindly, avuncular, benevolent
image; "interdependence" is the keyword -- "enlightened
interdependence".
Life in all its rich variety, take a little, leave a little. However,
by the inexorable logistics of the vampiric process they always take
more than they leave -- and why, indeed, should they take any?
Avoid fuck-ups. Fools, I call them. You all know the type -- no
matter how good it sounds, everything they have anything to do with
turns into a disaster. Trouble for themselves and everyone connected
with them. A fool is bad news, and it rubs off -- don't let it rub
off on you.
Do not proffer sympathy to the mentally ill; it is a bottomless pit.
Tell them firmly, "I am not paid to listen to this drivel -- you are
a terminal fool!" Otherwise, they make you as crazy as they are.
- WSB
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you've lost a quart of plasma, avoid that presence. You need it like
you need pernicious anemia.
We don't like to hear the word "vampire" around here; we're trying to
improve our public image. Building a kindly, avuncular, benevolent
image; "interdependence" is the keyword -- "enlightened
interdependence".
Life in all its rich variety, take a little, leave a little. However,
by the inexorable logistics of the vampiric process they always take
more than they leave -- and why, indeed, should they take any?
Avoid fuck-ups. Fools, I call them. You all know the type -- no
matter how good it sounds, everything they have anything to do with
turns into a disaster. Trouble for themselves and everyone connected
with them. A fool is bad news, and it rubs off -- don't let it rub
off on you.
Do not proffer sympathy to the mentally ill; it is a bottomless pit.
Tell them firmly, "I am not paid to listen to this drivel -- you are
a terminal fool!" Otherwise, they make you as crazy as they are.
- WSB
_
_
_
john cage bubblegum [orange_julius_irving remix]
http://www.amazon.com/exec/obidos/tg/stores/detail/-/music/B0000070S1/
customer-reviews/
http://www.heavengallery.com/fenslerfilms/
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item'7601146
http://www.transfatty.com/rockin2.html
http://www.zefrank.com/invite/swfs/index2.html
http://www.brucecockburn.com/lyrics/highwinds/laughing.html
mary hansen (11/1/1966 - 12/9/2002)
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customer-reviews/
http://www.heavengallery.com/fenslerfilms/
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item'7601146
http://www.transfatty.com/rockin2.html
http://www.zefrank.com/invite/swfs/index2.html
http://www.brucecockburn.com/lyrics/highwinds/laughing.html
mary hansen (11/1/1966 - 12/9/2002)
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naughty betty has a posse
http://www.donaldrollerwilson.com/brendas.html
http://www.anilgupta.com/category_1.cfm?category_id!
"Our music is based on a complex vibrational theory that we don't
understand but are following intuitively."
- Saquaara Dogs
"I have no theories whatever about anything. I make observations by
way of discovering contours, lines of force, and pressures. I
satirize at all times, and my hyperboles are as nothing compared to
the events to which they refer."
- St. Marshall
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http://www.anilgupta.com/category_1.cfm?category_id!
"Our music is based on a complex vibrational theory that we don't
understand but are following intuitively."
- Saquaara Dogs
"I have no theories whatever about anything. I make observations by
way of discovering contours, lines of force, and pressures. I
satirize at all times, and my hyperboles are as nothing compared to
the events to which they refer."
- St. Marshall
_
_
_
an excerpt from a review of a book about a museum of wonder
David Wilson is indeed a "national treasure," as is his unsettling
museum. This book, however, seems to me a snide, yuppie's-eye-view of
a truly original person and his meticulously wondrous contribution to
the long history of the wonder-cabinet. I was depressed for quite a
while after reading it to think that this condescending and
anti-intellectual account would bear Wilson's mind and seditious
achievements out into the world so much more frequently than would
the Museum of Jurassic Technology itself, or its own publications.
People fated to live out imaginatively impoverished lives in
latter-day American society could use some capacity for self-loss in
the face of what is other than ourselves or what we have mastered.
And--perhaps less fundamentally, but in the interests of our being
less boring to each other--we could use a less pervasive culture of
knowingness. *Mr. Wilson's Cabinet of Wonder* brings that possibility
forward only to smother it in a kind of smugly affectionate ridicule
for the person who tried to give us a chance. I was particularly
disappointed in that Weschler's 80s New Yorker piece about Boggs was
both intriguing and respectful, and his original Harper's piece on
Wilson at least showed honest curiosity. The book is a failure for a
writer who had seemed to have an interesting mission. People
interested in Wunderkammern of the past, as Wilson himself is and as
Weschler's irrepressible condescension demonstrates he is finally
not, should look at the catalogue of Dartmouth's Hood Museum exhibit
and conference on them, edited by Joy Kenseth, *The Age of the
Marvelous*; Paula Findlen's *Possessing Nature: Museums, Collecting
and Scientific Culture in Early Modern Italy; Lorraine Daston and
Katherine Park's *Wonders and the Order of Nature, 1100-1750*, and
Rosamond Purcell and Stephen J. Gould's glorious *Finders, Keepers:
Treasures and Oddities of Natural History*.
- mary campbell, 2001
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museum. This book, however, seems to me a snide, yuppie's-eye-view of
a truly original person and his meticulously wondrous contribution to
the long history of the wonder-cabinet. I was depressed for quite a
while after reading it to think that this condescending and
anti-intellectual account would bear Wilson's mind and seditious
achievements out into the world so much more frequently than would
the Museum of Jurassic Technology itself, or its own publications.
People fated to live out imaginatively impoverished lives in
latter-day American society could use some capacity for self-loss in
the face of what is other than ourselves or what we have mastered.
And--perhaps less fundamentally, but in the interests of our being
less boring to each other--we could use a less pervasive culture of
knowingness. *Mr. Wilson's Cabinet of Wonder* brings that possibility
forward only to smother it in a kind of smugly affectionate ridicule
for the person who tried to give us a chance. I was particularly
disappointed in that Weschler's 80s New Yorker piece about Boggs was
both intriguing and respectful, and his original Harper's piece on
Wilson at least showed honest curiosity. The book is a failure for a
writer who had seemed to have an interesting mission. People
interested in Wunderkammern of the past, as Wilson himself is and as
Weschler's irrepressible condescension demonstrates he is finally
not, should look at the catalogue of Dartmouth's Hood Museum exhibit
and conference on them, edited by Joy Kenseth, *The Age of the
Marvelous*; Paula Findlen's *Possessing Nature: Museums, Collecting
and Scientific Culture in Early Modern Italy; Lorraine Daston and
Katherine Park's *Wonders and the Order of Nature, 1100-1750*, and
Rosamond Purcell and Stephen J. Gould's glorious *Finders, Keepers:
Treasures and Oddities of Natural History*.
- mary campbell, 2001
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