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: Fwd: <nettime> RFC: nettime nominated for Golden Nica
Hi Francis,
I didn't mean it as a personal dis. I was just observing the
difference between the two communities.
The cool thing about the nettime response is, rather than changing
their paradigm to fit the competition, they just proceed with their
paradigm. If it fails to comply with the rules of the competition,
they don't really care. If nothing else, such a tactic perfectly
exemplifies/embodies their egalitarian emphasis, much more so than
had Wolfgang or somebody else written a summary entry on behalf of
the community describing their egalitarian emphasis. I just think
it's cool when organizations and artists take what they profess all
the way to extremes, even if it means they "suffer professionally."
Sadly, such behavior seems almost as rare in art circles as it is in
commercial design circles.
As an organization, prix ars seems pretty loose with their own rules.
Linus Torvalds and Neil Stephenson win Net Excellence awards for
which they didn't even apply (and to which they hardly pertain). The
fact that net time got invited to apply means somebody on the jury
has them in mind. The other jurors in that category are the
benneton/fabrica guy, who is pretty hip, and NN (of all things). Who
knows. They'll probably pick metafilter.
peace,
curt
>Unfortunately, I don't think nettime's approach to the application
>is kosher with the rules. The entry rules (at
>http://www.aec.at/en/prix/registration/index.asp?nocacheY6157 )
>say:
>
>"The submitter can be the author or artist of a work or the
>representative of a community project, either personally or through
>some authorized agent acting on their behalf (e.g. press
>spokesperson, officer of an institution, faculty member of a
>university)."
>
>Does it matter? Well, it does in a very boring, pragmatic way.
>Jurors are human beings with finite amounts of time, and none of
>them are going to want to filter through 500 entries from one
>community, whether that community is Nettime or Slashdot or Rhizome
>or whatever. They want a summary, just like everybody else in this
>busy world.
>
>Summaries are necessarily lies: No matter what map you draw of
>Denmark, I can always tell you the coastline isn't detailed enough.
>Arguably the problem is much worse with a digital community than it
>would be with an individual artist, since with that many more people
>involved their views of the thing grow exponentially. To take an
>easy example: How many movies have been made about New York City?
>How many different things do they say?
>
>It's definitely fair to say that nettime is much less centralized in
>its decision-making and development than Rhizome is. It's a valid
>and provocative strategy, though I also suspect it's one that
>wouldn't scale to an org like Rhizome, which has office space and
>gives out arts commissions and has to apply for NEA grants and pay
>for health insurance. As the nettimers write below, part of their
>method has been to let even the act of self-definition fall to
>individual members, which seems to be something that nettime members
>prefer and feel is valuable. Personally I'm not so into it, largely
>because I don't think self-definition is that important. (Which
>might have something to do with my own Buddhist-existentialist
>leanings, but that might be reading too much into it.)
>
>All of which is to say that I'm the one writing Rhizome's
>application for the Prix Ars, and I'm not writing it to prove any
>sort of point -- I'm writing it because I want to win. Not so I can
>add another notch to my C.V., but because I want that money so we
>can spend it on making this website and community better, in our
>continuing quest to be the most ass-kickingest new media arts
>community evah! My name will be on it, but what does that mean,
>especially given that I haven't been around for very long? Writing
>this application is sort of a privilege, I guess, but it's also sort
>of a chore. But, you know, if you want something done right ...
>
>For those who are interested, the application I'm writing focuses
>mostly on Rhizome's structural qualities, and the compromises it
>makes, than on making any grand manifestos. I'm not using Mark's
>formulation of Rhizome as a "social sculpture", largely because that
>was his thing and not mine -- and I never really liked Beuys,
>anyway. I am spending a little ink explicating just how
>anti-internet the rest of the art world still is -- not in terms of
>what gets put up in museums, but in terms of how discussion moves
>and value is assigned -- which I can't assume the jurors will know.
>
>It'll be interesting to see how it all ends up. In spite of the Prix
>Ars imprimateur, much of the Digital Communities jury has little or
>no background in the arts world. Both Joi Ito and Howard Rheingold,
>for example, are A-list celebs in the frothy firmament of the social
>software community. Dare I say it, they're naturally much more
>interested in blogs, wikis, and Friendster/Orkut/LinkedIn than they
>are in a bunch of net-artists, and the competition won't just be
>between new media spaces like Rhizome and nettime. I know that Sunir
>Shah is applying for his fascinating meta-community wiki Meatball (
>http://usemod.com/cgi-bin/mb.pl ), and I wouldn't be surprised to
>see the folks at FOAF, the Atom project, and others jump in too.
>
>F.
I didn't mean it as a personal dis. I was just observing the
difference between the two communities.
The cool thing about the nettime response is, rather than changing
their paradigm to fit the competition, they just proceed with their
paradigm. If it fails to comply with the rules of the competition,
they don't really care. If nothing else, such a tactic perfectly
exemplifies/embodies their egalitarian emphasis, much more so than
had Wolfgang or somebody else written a summary entry on behalf of
the community describing their egalitarian emphasis. I just think
it's cool when organizations and artists take what they profess all
the way to extremes, even if it means they "suffer professionally."
Sadly, such behavior seems almost as rare in art circles as it is in
commercial design circles.
As an organization, prix ars seems pretty loose with their own rules.
Linus Torvalds and Neil Stephenson win Net Excellence awards for
which they didn't even apply (and to which they hardly pertain). The
fact that net time got invited to apply means somebody on the jury
has them in mind. The other jurors in that category are the
benneton/fabrica guy, who is pretty hip, and NN (of all things). Who
knows. They'll probably pick metafilter.
peace,
curt
>Unfortunately, I don't think nettime's approach to the application
>is kosher with the rules. The entry rules (at
>http://www.aec.at/en/prix/registration/index.asp?nocacheY6157 )
>say:
>
>"The submitter can be the author or artist of a work or the
>representative of a community project, either personally or through
>some authorized agent acting on their behalf (e.g. press
>spokesperson, officer of an institution, faculty member of a
>university)."
>
>Does it matter? Well, it does in a very boring, pragmatic way.
>Jurors are human beings with finite amounts of time, and none of
>them are going to want to filter through 500 entries from one
>community, whether that community is Nettime or Slashdot or Rhizome
>or whatever. They want a summary, just like everybody else in this
>busy world.
>
>Summaries are necessarily lies: No matter what map you draw of
>Denmark, I can always tell you the coastline isn't detailed enough.
>Arguably the problem is much worse with a digital community than it
>would be with an individual artist, since with that many more people
>involved their views of the thing grow exponentially. To take an
>easy example: How many movies have been made about New York City?
>How many different things do they say?
>
>It's definitely fair to say that nettime is much less centralized in
>its decision-making and development than Rhizome is. It's a valid
>and provocative strategy, though I also suspect it's one that
>wouldn't scale to an org like Rhizome, which has office space and
>gives out arts commissions and has to apply for NEA grants and pay
>for health insurance. As the nettimers write below, part of their
>method has been to let even the act of self-definition fall to
>individual members, which seems to be something that nettime members
>prefer and feel is valuable. Personally I'm not so into it, largely
>because I don't think self-definition is that important. (Which
>might have something to do with my own Buddhist-existentialist
>leanings, but that might be reading too much into it.)
>
>All of which is to say that I'm the one writing Rhizome's
>application for the Prix Ars, and I'm not writing it to prove any
>sort of point -- I'm writing it because I want to win. Not so I can
>add another notch to my C.V., but because I want that money so we
>can spend it on making this website and community better, in our
>continuing quest to be the most ass-kickingest new media arts
>community evah! My name will be on it, but what does that mean,
>especially given that I haven't been around for very long? Writing
>this application is sort of a privilege, I guess, but it's also sort
>of a chore. But, you know, if you want something done right ...
>
>For those who are interested, the application I'm writing focuses
>mostly on Rhizome's structural qualities, and the compromises it
>makes, than on making any grand manifestos. I'm not using Mark's
>formulation of Rhizome as a "social sculpture", largely because that
>was his thing and not mine -- and I never really liked Beuys,
>anyway. I am spending a little ink explicating just how
>anti-internet the rest of the art world still is -- not in terms of
>what gets put up in museums, but in terms of how discussion moves
>and value is assigned -- which I can't assume the jurors will know.
>
>It'll be interesting to see how it all ends up. In spite of the Prix
>Ars imprimateur, much of the Digital Communities jury has little or
>no background in the arts world. Both Joi Ito and Howard Rheingold,
>for example, are A-list celebs in the frothy firmament of the social
>software community. Dare I say it, they're naturally much more
>interested in blogs, wikis, and Friendster/Orkut/LinkedIn than they
>are in a bunch of net-artists, and the competition won't just be
>between new media spaces like Rhizome and nettime. I know that Sunir
>Shah is applying for his fascinating meta-community wiki Meatball (
>http://usemod.com/cgi-bin/mb.pl ), and I wouldn't be surprised to
>see the folks at FOAF, the Atom project, and others jump in too.
>
>F.
Re: Fwd: <nettime> RFC: nettime nominated for Golden Nica
I must say, I think that's pretty hip. nettime should be given the award for the way in which they responded to the request for participation, although I wonder if the prix ars jurors will "get" the net-centric/community-ness of nettime's response approach.
One wonders, "What-Would-Rhizome-Do?" Actually, one doesn't have to wonder, because a 2001 prix ars net vision honorary mention went to "Mark Tribe, Alex Galloway / Rhizome.org (USA)."
A lot of artists are into whatever post-hierarchichal conceptual approach they are into until it gets them recognition within normal art world confines, and then they are more than happy to temporarily shed their approach, come out of character, and stand in line with the rest of the standard contenders to receive their award. That would be like the Sex Pistols donning tuxedos to receive their grammy award.
To their credit (or mental demise), the following artists have yet to abandon their kooky holistic tactical integrity:
NN
The Museum of Jurassic Technology
the artist formerly known as the artist formerly known as Prince
Frank Zappa
Daniel Johnston
(that's just off the top of my head. There are obviously more.)
"punk is like a prank that's gone too far, yet hasn't even begun."
http://www.pifmagazine.com/SID/623/
http://www.akayism.org
http://www.joynk.com/cdg/
++++++++++++++++++++++++++++
Rachel Greene wrote:
>
> > ----- Forwarded
> >
> > Date: Fri, 5 Mar 2004 15:22:34 -0500
> > From: "nettime's_mod_squad" <nettime@bbs.thing.net>
> > To: nettime-l@bbs.thing.net
> > Subject: <nettime> RFC: nettime nominated for Golden Nica
> >
> > Dear Nettimers --
> >
> > Because nettime-l an email address, pretty much like any other, it
> gets
> > lots of exciting offers each day. Every once in a while, an
> > interesting one
> > comes along -- for example, a solicitation from MS VP Nathan
> Myhrvold
> > to
> > hold a meeting at his company's headquarters[1] or an accidentally
> > poetic
> > announcements about ways to shrink or grow some part of our
> collective
> > anatomy. Most of these ask us to make some kind of financial
> > investment;
> > however, the latest interesting one to come in only asks for a
> little
> > bit
> > of time and thought. Ars Electronic has invited (whatever this
> means)
> > has
> > invited www.nettime.org to apply for its new "digital communities"
> > award.
> > Maybe this is the final sign that some of the list's most noted
> critics
> > ("krikits") are right when they represent the list as too big, too
> > bloated,
> > too old; maybe not; maybe something else.
> >
> > [1]
> > http://www.nettime.org/Lists-Archives/nettime-l-9804/msg00001.html
> >
> > Nettime's moderators take a bit of pride in having refused numerous
> > chances to "represent" the collective, ephemeral individuals and
> > networks
> > that collectively form the group of lists called "nettime" (-ann,
> -bold
> > [RIP], -fr, -l, -lat, -ro, -see, -zh, and, in a way, the
> > "neighborhood" of
> > lists). Thus, for example, when Eyebeam approached us last year with
> a
> > proposal to work with nettime, we were insistent that they would
> have
> > to
> > present their proposal to the list rather than negotiating with
> what
> > they
> > imagined to be some presumed "executive" contact.
> >
> > And so with Ars Electronica. The mail they sent is appended for you
> to
> > read. We encourage you -- any of you, all of you, some of you, in
> > whatever
> > configuration(s) you like -- to submit a statement that expresses,
> in
> > some
> > way, your views on the various questions they ask: about what
> nettime
> > is,
> > its history, and/or whether it deserves a Golden Nica.
> >
> > We think nettime deserves an award (why not?), and we ourselves may
> > file
> > our own personal statements, as time permits. However, in the
> > interests of
> > clarity in advance, we make two requests of Ars Electronica. First,
> > they
> > should weigh equally all statements they receive. And, second, any
> > revenues
> > stemming from the award should go to thing.net, which for years has
> > generously supported nettime-l and many other vital people and
> > projects.
> > For that reason, we registered nettime with the following contact
> info:
> >
> > Name: Nettime Nettime (c/o The Thing)
> > Street: 601 West 26th St
> > ZIP Code: 10001 New York
> > State: NY
> > Country: Vereinigte Staaten
> > E-mail: nettime@bbs.thing.net
> > Telephone: 1.212.937.0443
> >
> > Appended are:
> >
> > (1) letter from AEC to nettime-l
> > (2) checklist for submission
> > (3) text of online entry form (slightly different from (2)?)
> >
> > Regards,
> > the nettime-l mod squad (Andrea, Felix, Martin, Ted)
> >
> > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
> >
> > Subject: Prix Ars Electronica - Welcome to participate!
> > Date: Fri, 13 Feb 2004 16:05:40 +0100
> > From: "Communities" <communities@prixars.aec.at>
> > To: <nettime@bbs.thing.net>
> >
> > Dear Nettime Team,
> >
> > We would kindly like to invite you to participate with
> Www.nettime.org
> > in this year's Prix Ars Electronica, the foremost international
> prize
> > for computer-based art. To mark Ars Electronica's twenty-fifth
> > anniversary in 2004, the Prix Ars Electronica has expanded its
> > international competition for cyberarts to include a new "Digital
> > Communities" category singling out for recognition projects of great
> > sociopolitical relevance.
> >
> > This new category encompasses the social consequences of the
> Internet
> > as
> > well as the latest developments in the domain of mobile
> communications
> > and wireless networks. For a detailed description of the category
> and
> > about Prix Ars Electronica in general, please see the attached PDF
> file
> > or our website http://prixars.aec.at.
> >
> > Prizes
> > Two Golden Nicas will be awarded with 10,000 Euro each and
> > 4 Awards of Distinction with 5,000 Euro each and up to 14 Honorary
> > Mentions.
> >
> > The closing deadline for the entries is March 12th, 2004.
> >
> > If you need any further information, please do not hesitate to come
> > back
> > to us.
> >
> > Looking forward to your hopefully positive reply!
> >
> > With best regards
> > Clara Picot
<snip>
One wonders, "What-Would-Rhizome-Do?" Actually, one doesn't have to wonder, because a 2001 prix ars net vision honorary mention went to "Mark Tribe, Alex Galloway / Rhizome.org (USA)."
A lot of artists are into whatever post-hierarchichal conceptual approach they are into until it gets them recognition within normal art world confines, and then they are more than happy to temporarily shed their approach, come out of character, and stand in line with the rest of the standard contenders to receive their award. That would be like the Sex Pistols donning tuxedos to receive their grammy award.
To their credit (or mental demise), the following artists have yet to abandon their kooky holistic tactical integrity:
NN
The Museum of Jurassic Technology
the artist formerly known as the artist formerly known as Prince
Frank Zappa
Daniel Johnston
(that's just off the top of my head. There are obviously more.)
"punk is like a prank that's gone too far, yet hasn't even begun."
http://www.pifmagazine.com/SID/623/
http://www.akayism.org
http://www.joynk.com/cdg/
++++++++++++++++++++++++++++
Rachel Greene wrote:
>
> > ----- Forwarded
> >
> > Date: Fri, 5 Mar 2004 15:22:34 -0500
> > From: "nettime's_mod_squad" <nettime@bbs.thing.net>
> > To: nettime-l@bbs.thing.net
> > Subject: <nettime> RFC: nettime nominated for Golden Nica
> >
> > Dear Nettimers --
> >
> > Because nettime-l an email address, pretty much like any other, it
> gets
> > lots of exciting offers each day. Every once in a while, an
> > interesting one
> > comes along -- for example, a solicitation from MS VP Nathan
> Myhrvold
> > to
> > hold a meeting at his company's headquarters[1] or an accidentally
> > poetic
> > announcements about ways to shrink or grow some part of our
> collective
> > anatomy. Most of these ask us to make some kind of financial
> > investment;
> > however, the latest interesting one to come in only asks for a
> little
> > bit
> > of time and thought. Ars Electronic has invited (whatever this
> means)
> > has
> > invited www.nettime.org to apply for its new "digital communities"
> > award.
> > Maybe this is the final sign that some of the list's most noted
> critics
> > ("krikits") are right when they represent the list as too big, too
> > bloated,
> > too old; maybe not; maybe something else.
> >
> > [1]
> > http://www.nettime.org/Lists-Archives/nettime-l-9804/msg00001.html
> >
> > Nettime's moderators take a bit of pride in having refused numerous
> > chances to "represent" the collective, ephemeral individuals and
> > networks
> > that collectively form the group of lists called "nettime" (-ann,
> -bold
> > [RIP], -fr, -l, -lat, -ro, -see, -zh, and, in a way, the
> > "neighborhood" of
> > lists). Thus, for example, when Eyebeam approached us last year with
> a
> > proposal to work with nettime, we were insistent that they would
> have
> > to
> > present their proposal to the list rather than negotiating with
> what
> > they
> > imagined to be some presumed "executive" contact.
> >
> > And so with Ars Electronica. The mail they sent is appended for you
> to
> > read. We encourage you -- any of you, all of you, some of you, in
> > whatever
> > configuration(s) you like -- to submit a statement that expresses,
> in
> > some
> > way, your views on the various questions they ask: about what
> nettime
> > is,
> > its history, and/or whether it deserves a Golden Nica.
> >
> > We think nettime deserves an award (why not?), and we ourselves may
> > file
> > our own personal statements, as time permits. However, in the
> > interests of
> > clarity in advance, we make two requests of Ars Electronica. First,
> > they
> > should weigh equally all statements they receive. And, second, any
> > revenues
> > stemming from the award should go to thing.net, which for years has
> > generously supported nettime-l and many other vital people and
> > projects.
> > For that reason, we registered nettime with the following contact
> info:
> >
> > Name: Nettime Nettime (c/o The Thing)
> > Street: 601 West 26th St
> > ZIP Code: 10001 New York
> > State: NY
> > Country: Vereinigte Staaten
> > E-mail: nettime@bbs.thing.net
> > Telephone: 1.212.937.0443
> >
> > Appended are:
> >
> > (1) letter from AEC to nettime-l
> > (2) checklist for submission
> > (3) text of online entry form (slightly different from (2)?)
> >
> > Regards,
> > the nettime-l mod squad (Andrea, Felix, Martin, Ted)
> >
> > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
> >
> > Subject: Prix Ars Electronica - Welcome to participate!
> > Date: Fri, 13 Feb 2004 16:05:40 +0100
> > From: "Communities" <communities@prixars.aec.at>
> > To: <nettime@bbs.thing.net>
> >
> > Dear Nettime Team,
> >
> > We would kindly like to invite you to participate with
> Www.nettime.org
> > in this year's Prix Ars Electronica, the foremost international
> prize
> > for computer-based art. To mark Ars Electronica's twenty-fifth
> > anniversary in 2004, the Prix Ars Electronica has expanded its
> > international competition for cyberarts to include a new "Digital
> > Communities" category singling out for recognition projects of great
> > sociopolitical relevance.
> >
> > This new category encompasses the social consequences of the
> Internet
> > as
> > well as the latest developments in the domain of mobile
> communications
> > and wireless networks. For a detailed description of the category
> and
> > about Prix Ars Electronica in general, please see the attached PDF
> file
> > or our website http://prixars.aec.at.
> >
> > Prizes
> > Two Golden Nicas will be awarded with 10,000 Euro each and
> > 4 Awards of Distinction with 5,000 Euro each and up to 14 Honorary
> > Mentions.
> >
> > The closing deadline for the entries is March 12th, 2004.
> >
> > If you need any further information, please do not hesitate to come
> > back
> > to us.
> >
> > Looking forward to your hopefully positive reply!
> >
> > With best regards
> > Clara Picot
<snip>
a restructuring of ethereal relationships
http://www.deepyoung.org/sister/
Perhaps of note:
Deep/Young Anodyne Laboratories, due to a recent internal
restructuring of our relationships toward various affiliate nodes,
has updated its Deep/Young Ethereal Archive "Sister Organizations"
page in order to more accurately reflect our current soulish and
spiritual sympathies online.
++++++++++++++++++++++++++
GRAFTED INTO the D/Y network (with hearty aplomb and for the
following reasons) are:
* Synesthetic Bubble Gum Cards [because the ether need not be bereft
of creature comforts]
* Antarctica Dream-Dollars [as an antidote to the recent misguided
championing of those "paid in fool"]
* The Museum of Lost Wonder [because the only "stupid" question is
the one you don't ask]
* Portmeirion [in honor of James' trans-Atlantic voyage to the top of
the Empire State Building. "looking down on empty streets all she
can see are the dreams all made solid, are the dreams made real"]
++++++++++++++++++++++++++
SET ADRIFT from the D/Y network (with no ill will and for the
following reasons) are:
* Black Mountain College [due to the overly tangible realities of
physical proximity and recorded history]
http://www.blackmountaincollege.org/bmcref/bmc.html
* The Six of One [due to their recent shift toward demystification]
http://www.netreach.net/~sixofone/
* The Ephemera Society of America [we released ourselves on our own
recognizance] http://www.ephemerasociety.org/
* Brenda's Nut Farm [too many fleas]
http://www.donaldrollerwilson.com/brendas.html
++++++++++++++++++++++++++
STILL INTACT and resonating at various levels of satisfactory intensity are:
* Museum of Jurassic Technology
* Art Brut Connaissance & Diffusion
* Rotherhithe University
* Hokes Archives
* Eryk Salvaggio Museum of Modern Living (gone but not forgotten by
archive.org)
* The UK Museum of Ordure
* Walter Anderson Museum of Art
* Gladys Dwindlebimmers Ralston Gallery of the Unidentifiable
++++++++++++++++++++++++++
As always, we pray that these and all our activities fulfill our
mandate "to facilitate a more lively remote dialogue with the Sundry
Essences of Wonder."
As You Wish,
Archive Registrar
Deep/Young Ethereal Archive
Perhaps of note:
Deep/Young Anodyne Laboratories, due to a recent internal
restructuring of our relationships toward various affiliate nodes,
has updated its Deep/Young Ethereal Archive "Sister Organizations"
page in order to more accurately reflect our current soulish and
spiritual sympathies online.
++++++++++++++++++++++++++
GRAFTED INTO the D/Y network (with hearty aplomb and for the
following reasons) are:
* Synesthetic Bubble Gum Cards [because the ether need not be bereft
of creature comforts]
* Antarctica Dream-Dollars [as an antidote to the recent misguided
championing of those "paid in fool"]
* The Museum of Lost Wonder [because the only "stupid" question is
the one you don't ask]
* Portmeirion [in honor of James' trans-Atlantic voyage to the top of
the Empire State Building. "looking down on empty streets all she
can see are the dreams all made solid, are the dreams made real"]
++++++++++++++++++++++++++
SET ADRIFT from the D/Y network (with no ill will and for the
following reasons) are:
* Black Mountain College [due to the overly tangible realities of
physical proximity and recorded history]
http://www.blackmountaincollege.org/bmcref/bmc.html
* The Six of One [due to their recent shift toward demystification]
http://www.netreach.net/~sixofone/
* The Ephemera Society of America [we released ourselves on our own
recognizance] http://www.ephemerasociety.org/
* Brenda's Nut Farm [too many fleas]
http://www.donaldrollerwilson.com/brendas.html
++++++++++++++++++++++++++
STILL INTACT and resonating at various levels of satisfactory intensity are:
* Museum of Jurassic Technology
* Art Brut Connaissance & Diffusion
* Rotherhithe University
* Hokes Archives
* Eryk Salvaggio Museum of Modern Living (gone but not forgotten by
archive.org)
* The UK Museum of Ordure
* Walter Anderson Museum of Art
* Gladys Dwindlebimmers Ralston Gallery of the Unidentifiable
++++++++++++++++++++++++++
As always, we pray that these and all our activities fulfill our
mandate "to facilitate a more lively remote dialogue with the Sundry
Essences of Wonder."
As You Wish,
Archive Registrar
Deep/Young Ethereal Archive
Re: Myth II-1
That's one's not by me. It's by Jeff Hoke (I'm guessing Hoke=Hoax, similar to the "Hokes Archives" at http://web.utk.edu/~blyons/ ). The entire museum may be perused at http://www.lostwonder.org . It's a kind of virtual http://www.mjt.org for beginners. viva la medieval primers.
_
nikola pilipovic wrote:
> http://www.lostwonder.org/guides/ExcerptGuide10.htm
>
> Hi Curt,
> Very,very nice work.Without links,names,CV-is,about us,...and other
> usual e=
> quipment.Discreet retro design(popular science magazine late XIX
> century,ch=
> ill with underground comic style),serious and mysterious,superposition
> in s=
> tructure...naive and extremely clean.Also there's humor,but far enough
> to b=
> e obvious and boring.
> Allow me to add some direction for beginners?OK
> Whatever you think about stuff like this,there's no chance to go thru
> it wi=
> thout several years intensive attention and serious study and
> practicing ta=
> rot or some close discipline.
> Thank you
> MANIK
>
_
nikola pilipovic wrote:
> http://www.lostwonder.org/guides/ExcerptGuide10.htm
>
> Hi Curt,
> Very,very nice work.Without links,names,CV-is,about us,...and other
> usual e=
> quipment.Discreet retro design(popular science magazine late XIX
> century,ch=
> ill with underground comic style),serious and mysterious,superposition
> in s=
> tructure...naive and extremely clean.Also there's humor,but far enough
> to b=
> e obvious and boring.
> Allow me to add some direction for beginners?OK
> Whatever you think about stuff like this,there's no chance to go thru
> it wi=
> thout several years intensive attention and serious study and
> practicing ta=
> rot or some close discipline.
> Thank you
> MANIK
>
Re: Myth II
This one particularly resonates with me:
6. Transgression (subversion, dangerous or revolutionary potential) doesn't exist in recent "art" streaming. Mega Project of Modernism/Postmodernism are finished. Paradoxaly-expansion of technology needs renaissance spirit. Pre-modernism includes crafts,skills,alchemy (cyber paranoiac projection of particular and superficial knowledge about many details, which lied to amateurism). "Artist" is surrounded by a number of difficulties, to survive he needs to be malted with Mega Myth rules. Or he can decide to stay on the periphery, in dangerous places without rules,low,court,wild in every moment,corrupted, humble and poor,completely depend of foreign donation. Without market at all, especially "art" market.
- n.p.
quite. we've finally got our any-to-many medium, so why are so many of us still waiting in line for the revolution to be curated and bronzed? self-pimping ain't punk (never was, never will be), and howard finster eats fops like damien hirst for breakfast.
Post-Pistols case study: john lydon (amateur punk) spawned the brilliance that was Public Image Ltd; whereas Malcolm McLaren (situationist wannabe and proto-saatchi fashion playa) went on to manage Bow Wow Wow and record "buffallo gals." He who has ears, let him hear.
http://deepyoung.org/sister
http://deepyoung.org/current/outsider/
http://www.lostwonder.org/guides/ExcerptGuide10.htm
shake it like a polaroid camera,
odin
6. Transgression (subversion, dangerous or revolutionary potential) doesn't exist in recent "art" streaming. Mega Project of Modernism/Postmodernism are finished. Paradoxaly-expansion of technology needs renaissance spirit. Pre-modernism includes crafts,skills,alchemy (cyber paranoiac projection of particular and superficial knowledge about many details, which lied to amateurism). "Artist" is surrounded by a number of difficulties, to survive he needs to be malted with Mega Myth rules. Or he can decide to stay on the periphery, in dangerous places without rules,low,court,wild in every moment,corrupted, humble and poor,completely depend of foreign donation. Without market at all, especially "art" market.
- n.p.
quite. we've finally got our any-to-many medium, so why are so many of us still waiting in line for the revolution to be curated and bronzed? self-pimping ain't punk (never was, never will be), and howard finster eats fops like damien hirst for breakfast.
Post-Pistols case study: john lydon (amateur punk) spawned the brilliance that was Public Image Ltd; whereas Malcolm McLaren (situationist wannabe and proto-saatchi fashion playa) went on to manage Bow Wow Wow and record "buffallo gals." He who has ears, let him hear.
http://deepyoung.org/sister
http://deepyoung.org/current/outsider/
http://www.lostwonder.org/guides/ExcerptGuide10.htm
shake it like a polaroid camera,
odin