curt cloninger
Since the beginning
Works in Canton, North Carolina United States of America

ARTBASE (7)
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.
Discussions (1122) Opportunities (4) Events (17) Jobs (0)
DISCUSSION

april 26, 2005 from 6:55-9:01 pm


I just came across the following in my never used "documents folder"
in a text document called "temp links." The document was created
april 26, 2005, 6:55 pm and last modified at 9:01 pm on the same
evening.

+++++++++++++++++++++++++++++++++++

http://algorithmicbotany.org/papers/abop/abop.pdf

http://www.aaschool.ac.uk/publications/ea/images/008.jpg
http://www.aaschool.ac.uk/publications/ea/images/027.jpg
http://www.aaschool.ac.uk/publications/ea/images/028.jpg
http://www.aaschool.ac.uk/publications/ea/images/034.jpg
http://www.aaschool.ac.uk/publications/ea/images/048.jpg
http://www.aaschool.ac.uk/publications/ea/images/050.jpg
http://www.aaschool.ac.uk/publications/ea/images/062.jpg
http://www.aaschool.ac.uk/publications/ea/images/081.jpg

U. Eco "Opera Aperta"
"the sense of order" by gombrich
'the nature of ornament' by kent bloomer
"Phanomen Kunst - die kybernetischen Grundlagen der Asthetik" from
Herbert W. Franke (1974)
Krauss
Mumford

http://www.neoism.net/07_towards_an_acognitive_culture_1.html

http://www.neoism.net/plagiarism_index_6.html
http://www.tsl.pomona.edu/archives/99/0219/A_F/01.HTML
http://www.thing.de/projekte/7:9%23/berndt.gif
http://www.rupture.co.uk/unrealitytv/map.jpg
http://www.martian.fm/wigan_ella.jpg

"Open Creation and its Enemies" by Asger Jorn, "Society of the
Spectacle" by Guy Debord, "The Revolution Of Everyday Life" and "The
Book Of Pleasures' by Raoul Vaneigem, "Leaving The 20th Century'
edited by Chris Gray and "The Situationist International Anthology"
edited by Ken Knabb.

http://www.thing.de/projekte/7:9%23/mozart.html

"Ha! You think it's funny? Turning rebellion into money?"
- the martin luther blissett massacre

"People who talk about revolution and class struggle without
referring explicitly to everyday life, without understanding what is
subversive about love and what is positive in the refusal of
constraints, such people have a corpse in their mouth."
- lydia lunch
http://www.brainwashed.com/giorno/images/diamond.jpg

http://www.c6.org/evol/anticolony/MAPS/
http://images.amazon.com/images/P/B000003TAH.01.LZZZZZZZ.jpg

http://users2.ocean.com.au/strongs/ss/lfs/ap.shtml

http://www.google.com/search?hl=en&lr=&q=Plagiarism+removes+the+need+for+talent+or+even+much+application&btnG=Search

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DISCUSSION

director


Hi Jim,

I just got a new macbook pro, and it won't play shockwave files unless I run my browser in Rosetta mode, which is convoluted and ridiculous:
http://www.adobe.com/cfusion/knowledgebase/index.cfm?id

DISCUSSION

my latest book is out


Hi everybody in the rhizome "community,"

My latest book is finally out:
http://www.amazon.com/dp/0321350243/
it promises to be about more than its marketing copy purports. I
even quote Alexei Shulgin (twice).

There will be no gala signing at the New Museum, but if you find
yourself in Asheville, North Carolina, US, email me and we can go
eat some pulled pork or something.

peace,
curt

DISCUSSION

the future is now


flying cars, post-human sex, bad 5pelling, free passes to Sea World,
that Aphex Twin maxi-single, ANSI-nation, a twist in the fabric of
space where time becomes a loop, steam-powered Victorian analytical
engines, disorienting neo-plastic Japanese micro-fetish cartoon
hairstyles, bass, processor cycles, flying cars, evolution, suction
cups, flying cars, ball bearings, cadmium nickel ion diode battery
recharger clips, soldering tables... cables

+++++++++++++++++++++++

Dear CURT CLONINGER:

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left behind. Stay WIRED!

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DISCUSSION

Re: Mail Art


At the end of How to Draw a Bunny, after Ray Johnson dies, there is a scene where his agent and curator are putting together his first solo show. It's almost as if they couldn't wait until he was out of the way and no longer able to steward the dispersal and contextualization of his own work (the stewardship of which was no small part of the work itself). Rather than honor the spirit of his practice, they jumped at the chance to (mis)translate his work into the commodity gallery system. "This butterfly used to fly freely in and out of our natural history museum, always eluding capture. Wasn't it clever? See how we've honored it by capturing it and pinning it under glass."

Some of my favorite artifacts are things I reveived from artists in the mail that no one else knows about. When they come around to interview me fo their posthumous Max Herman documentary, "I'll never tell." For every Henry Darger or Nek Chand that winds up on our radar, I'd like to believe there are dozens more who never do. Just as there are thousands of people in the world right now singing improvisational worship songs in unknown tongues to God, songs that will be remembered not even by their singers, but only by God. If there's just a void out there, the archivist becomes more essential (Neil Young has his own personal archivist). Regarding the work of Sarah Kane, Nicholas Mirzoeff writes, "Confronted by the indifferent surveilance of late capitalist society and an absent god, the subject disintegrates." If God's out there, the archivist becomes more incidental. I love the title of the Psychedelic Furs retrospective -- "Should God Forget." http://www.amazon.com/dp/B000002AHD/

ephemera is dead. long live ephemera.

_

Rob Myers wrote:

> Mail art is art that is sent through the postal system. The
> experience
> of mail art, its mode of consumption, is of receiving aesthetic
> ephemera
> delivered with the rest of the mail.
>
> This is not to say that mail art cannot be shown in the museum. Like
> gourds and spears it can be presented in an anthropological context.
> But
> like gourds and spears in museum vitrines it has been removed from
> the
> world it was created in and given a new context.
>
> Mail art designed to be shown in the museum does exist. It's a
> substitute both for mail art and for museum art, and not a successful
> one. Neither the energy of mail art nor the seriousness of the museum
> survive the encounter.
>
> The best that can be hoped for from presenting mail art in the
> gallery
> is that the viewer can make an imaginative projection into the world
> of
> mail art. Or that the work has enough formal qualities or content to
> make its own small context, transcending both mail art and the museum.
>
> What cannot be hoped for is to bring the experience of mail art, its
> mode of consumption, its social relations, into the gallery. It is
> like
> trying to exhibit jellyfish on podiums under bright lights so people
> can
> see them better.