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

canonization via syndication [google.directory_curatorial remix]


source:
http://directory.google.com/Top/Arts/Digital/Net_Art/Artists_and_Projects/

copies: (who knew net art could be so advertiser-friendly!)
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DISCUSSION

BAAAH! (a steal-this-idea conceptual instruction)


BAAAH!

Rather than waste your time in a basement laboratory trying to brew
up your next trans-genetic tactical art intervention, I'm thinking,
hey, why not just go fuck a sheep? The conceptual and performative
values are way higher, not to mention all the free press you'll get
from animal rights activists and vegetarians. Now I know you're
excited to be the first one on the 21st Century art history block to
pull this piece off; but slow down there, cowboy. You can't just
rush right out and fuck a sheep and expect it to be considered art.
Urban legends in the Southern US and New Zealand abound with tales of
such "happenings" that have yet to make it onto the art history
radar. No, you're going to have to have a plan of attack.

First and foremost, bring along a documentary film crew. Then after
the "event," give the sheep an endearing name, monitor it to see
whether it conceives, take pseudo-scientific blood samples, write
texts on what it means to be post-post-human in the post-post-modern
age, pose with farm equipment, etc. Be serious about this! It is
tactical art, after all. Most important, remember to send a constant
stream of press releases to applicable publications like Wired, The
New York Times, and Country Living.

Your sheep-fucking project is going to need a clever title. I've
settled for BAAAH! as a working title, but you'll have to come up
with your own variation. I'm bending over backwards here to help you
make a name for yourself in contemporary avante garde circles, but I
can't be expected to provide everything for you. Do a little
marketing leg work! As a contemporary conceptual artist, you should
be able to come up with something meme-tastic in a jiffy.

Your sheep-fucking project can take various conceptual directions, a
few of which I've outlined below:

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

1. The Damien Hirst Remix:
Entitle your project "away from the flock [slight return]." After
the "event," hire someone to cut the sheep in half (not lengthwise,
but right across the middle), taxiderm and mount the rear half, and
put a six figure price tag on it.

2. The Eduardo Kac Remix:
Inject yourself and the sheep with a glowing microchip that emits a
tingling sensation whenever either of you climax. Then dress up as a
rabbit and perform the "event" under a neon light.

3. The Actionist Remix:
During the "event," have someone shoot the sheep while you emasculate
yourself immediately after climax (your climax, not the sheep's),
leaving your groundbreaking manhood in the corpse of the sheep. Both
"incidental objects" (dead sheep, your manhood) should fetch a pretty
penny on the collector's market. Heck, you could even pull a Cary
Peppermint and auction them on Ebay, as long as a lo-res photo of
some skank's breasts are somehow involved.

4. The Actionist Remix [Feminist Version]:
Same idea, except with a male sheep, and you'll have to use the word
"cunt" in the title, because that's just the way these things work.
Have someone emasculate the sheep after climax (the sheep's climax,
not yours), and then shoot yourself. Think of the conceptual
resonances! -- men as sheep, emasculation, rape, suicide. Some
micro-scene academic type is bound to write a paper about it called
something like "Men as Sheep, Emasculation, Rape, Suicide: The
Seminal Work of [insert your name here]."

5. The Actionist Remix [Trans-Gender Genesis P. Orridge Version]:
Emascualte the sheep and then perform the event anally, onstage, with
full orchestral accompaniment. Release a limited edition DVD.

5. The Anti-Art/Graffiti Remix :
Spray paint "The Art World" on the side of the sheep and proceed with
the "event."

6. The Miltos Manetas Remix:
Don't actually fuck the sheep, but tell a bunch of people that you
did and then get some Italian teenager to make a Flash animation
about it.

7. The Fluxus Remix:
Pretend these instructions are art.

8. The Joseph Beuys Remix:
Lock yourself in a US warehouse with the sheep for a few days and
then fly home to Germany. Entitle the performance, "Yes Sir, Yes
Sir; Three Bags Full."

9. The Tracy Emin Remix:
Fuck multiple sheep on multiple occasions and then sew each sheep's
name into an oversized wool sweater made from the combined wool of
each sheep.

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

These are just a handful of ideas off the top of my head. I'm sure
you have plenty of your own that you'll want to try out for
yourselves.

Good luck, and keep up the great work!
curt

DISCUSSION

Re: Re: Re: morals & values


c:
> > "value" is worth assigned to something (as opposed to worth
> > strictly derived from the intrinsic nature of something).

j.a:
> how are such derivations arrived at?

c:
divine revelation.

either that or you can use one of these:
http://www.anti-theory.com/sales/sales_gallery/i/main.html

DISCUSSION

Re: morals & values


etymologically...

"value" is worth assigned to something (as opposed to worth strictly derived from the intrinsic nature of something), so "values" are more likely to be idiosyncratic/subjective/shifting. "Values" are a set of held propositions that may or may not ultimately influence the rubber-meets-the-road behavior of the person who holds them. If the rules are subject to me, when I encounter the inevitable practical situation where a rule rubs me the wrong way, I simply change the rule.

"morals" (by definition) are meant to be derived from an objective system of right and wrong. Vis "values," morals are less arbitrarily assigned and more intrinsically derived. "morals" connotes a "rule" by which one is meant to be perpetually governed. As Rich Mullins says, "I believe what I believe is what makes me what I am. / I did not make it. No, it is making me."

A relativist, subscribing to a system that disallows objective right and wrong, would suspect that everyone's professed morals are merely someone else's imposed values.

++++++++++

The dilema of the three baseball umpires is applicable:

The first umpire says, "There's balls and there's strikes, and I calls 'em like I sees 'em." [believes in the existence of an objective reality, but allows for subjective human error in its interpretation.]

The second umpire says, "There's balls and there's strikes, and I calls 'em like they is." [believes in the existence of an objective reality, and assumes he knows exactly what it is.]

The third umpire says, "There's balls and there's strikes, but they ain't nothing 'till I calls 'em." [believes in the non-existence of an objective reality.]

Why none of these umpires is able to speak proper English is the real mystery that has shaken 20th century philosophy to its core. Unfortunately, even a cursory consideration of that topic is beyond the scope of this post.

world's stickiest bogey,
http://www.bbc.co.uk/comedy/guide/images/400/youngones_2.jpg

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Jeremy Zilar wrote:

>
>
> what is the difference between "values" and "morals"?
>
>
> -jeremy