ARTBASE (1)
BIO
born in 1962 in Lier, Belgium.
studied filology at Louvain, Belgium.
worked a lot in bars and restaurants before i became obsessivly addicted to producing stuff on computers.
i once won a design contest of cgi-magazine and they let me go to New York for four days, that was nice.
i think in terms of writing mostly (or programming, but those are very similar processes for me)
painting is a very different process and i'm very bad at it but i do it anyway because i like the differences it produces and i like the freshness of amateurism, i guess.
what i produce new media-wise is also very much influenced by my daily practice of webdesign and programming with its concerns of usability and the pragmatic approach it implies.
studied filology at Louvain, Belgium.
worked a lot in bars and restaurants before i became obsessivly addicted to producing stuff on computers.
i once won a design contest of cgi-magazine and they let me go to New York for four days, that was nice.
i think in terms of writing mostly (or programming, but those are very similar processes for me)
painting is a very different process and i'm very bad at it but i do it anyway because i like the differences it produces and i like the freshness of amateurism, i guess.
what i produce new media-wise is also very much influenced by my daily practice of webdesign and programming with its concerns of usability and the pragmatic approach it implies.
mecanolodiamauro III
http://www.vilt.net/nkdee/nolo.jsp
-requires Flash Player 8
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
[The NKdeE moves in several directions. Whenever a new direction is
perceived, a message like this is sent to several mailing-lists i am
subscribed to. Sorry for any cross-posting.]
-requires Flash Player 8
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
[The NKdeE moves in several directions. Whenever a new direction is
perceived, a message like this is sent to several mailing-lists i am
subscribed to. Sorry for any cross-posting.]
Re: Re: Re: Re: Re: Re: Re: notes for a hypothetical essay on relocating the aura
> Is there not something different about a book from the
> library that has been checked out and read by a bunch of
> people and the exact same book new from Amazon? It's the
> same content, the same subject matter, but the library book
> has a kind of history and provenance. Is that provenance
> psychologically ascribed to the library book by the reader,
> or does it emanate from the spiritual history of the library
> book itself? Whichever it is, the library book is somehow
> different than the new book.
>
> best,
> curt
>
Patina <it. patina [kind of lacquer, blacking for leather, oxidation on
bronze]
<lat. Patina,patena[flat shallow pan] from patere; being open, accessible
In a Cathedralic confusion of leibniz/deleuze/derrida the dual cycle goes
like
aura<absence<aura
| |
patina<absence<patina
It's not that it happens beneath or above the human action/thinking level,
it happens because the initiating energy has made the book, and afterwards
it's just secreting/sacri-fying itself. Sure it's a death/decaying process
but what isn't? That is a personal choice, how you want to look at it.
There's always another side, and another...
When you have this kind of aging, you get a material fold, a visible
referent of the same act spread in spacetime. But you need the basic,
initial inscription first. You can't inscribe running code. That's the
flattening aspect of the net, i suppose, turning us into geeks.
From a literary point of view (the only one i'm a bit sure of)it's a basic
lack of digital/screen arty stuff you can't have this material link, all the
timely tiny inscriptions of all the people mostly beating their own souls
out of the book(thinking it's the book's soul, i think it's an aggregate,
nothing primary like a stone's soul, or an organism), 'cause these things
serve as a hook/handle for each new reader/reading, so you gotta
find/construct other ways of hooking up your audience. Instead the net
offers you different waves to connect to, but it's hard to find the right
rhytm. I make 'm scroll, so if i only got 3 seconds, at least i know what
they are doing. I don't like netvideo too much because i feel you're
throwing away the opportunity you have to connect rhythmically, making them
sit back again. Immersive games are a bit the same for me in the sense that
they don't need or automatically use the net thing. The hybrid thing that it
is/wants.
Things will change a bit when we get screens that you can actually look at
instead of these light sources, i suppose.
The net thing is too important not to be trying to pour aura into. Click.
Poor aura. We'll need plenty of that if it comes to making that ai thing
work for our own survival. I guess that makes me rather radical at times.
But art is too much a f** up word to make anything with, too much meat &
soul's going to waste to be making "art" & try to sell it, at least that's
how i see it. And identity on the net is just some code wit the @-char in
it, unless it hooks up, but then it isn't you anymore. In this case i put
this code here. Now where untsoweiter. It doesn't matter. Heck what do i
know.
dv
> library that has been checked out and read by a bunch of
> people and the exact same book new from Amazon? It's the
> same content, the same subject matter, but the library book
> has a kind of history and provenance. Is that provenance
> psychologically ascribed to the library book by the reader,
> or does it emanate from the spiritual history of the library
> book itself? Whichever it is, the library book is somehow
> different than the new book.
>
> best,
> curt
>
Patina <it. patina [kind of lacquer, blacking for leather, oxidation on
bronze]
<lat. Patina,patena[flat shallow pan] from patere; being open, accessible
In a Cathedralic confusion of leibniz/deleuze/derrida the dual cycle goes
like
aura<absence<aura
| |
patina<absence<patina
It's not that it happens beneath or above the human action/thinking level,
it happens because the initiating energy has made the book, and afterwards
it's just secreting/sacri-fying itself. Sure it's a death/decaying process
but what isn't? That is a personal choice, how you want to look at it.
There's always another side, and another...
When you have this kind of aging, you get a material fold, a visible
referent of the same act spread in spacetime. But you need the basic,
initial inscription first. You can't inscribe running code. That's the
flattening aspect of the net, i suppose, turning us into geeks.
From a literary point of view (the only one i'm a bit sure of)it's a basic
lack of digital/screen arty stuff you can't have this material link, all the
timely tiny inscriptions of all the people mostly beating their own souls
out of the book(thinking it's the book's soul, i think it's an aggregate,
nothing primary like a stone's soul, or an organism), 'cause these things
serve as a hook/handle for each new reader/reading, so you gotta
find/construct other ways of hooking up your audience. Instead the net
offers you different waves to connect to, but it's hard to find the right
rhytm. I make 'm scroll, so if i only got 3 seconds, at least i know what
they are doing. I don't like netvideo too much because i feel you're
throwing away the opportunity you have to connect rhythmically, making them
sit back again. Immersive games are a bit the same for me in the sense that
they don't need or automatically use the net thing. The hybrid thing that it
is/wants.
Things will change a bit when we get screens that you can actually look at
instead of these light sources, i suppose.
The net thing is too important not to be trying to pour aura into. Click.
Poor aura. We'll need plenty of that if it comes to making that ai thing
work for our own survival. I guess that makes me rather radical at times.
But art is too much a f** up word to make anything with, too much meat &
soul's going to waste to be making "art" & try to sell it, at least that's
how i see it. And identity on the net is just some code wit the @-char in
it, unless it hooks up, but then it isn't you anymore. In this case i put
this code here. Now where untsoweiter. It doesn't matter. Heck what do i
know.
dv
Re: An open letter to artist-run centers
who needs artist-run centers for the emergence of personal vision?
dv
_____
Van: owner-list@rhizome.org [mailto:owner-list@rhizome.org] Namens
miklos@sympatico.ca
Verzonden: dinsdag 30 mei 2006 20:17
Aan: events@instantcoffee.org
CC: list@rhizome.org; info@flackattack.org
Onderwerp: RHIZOME_RAW: An open letter to artist-run centers
An open letter to artist-run centers
I received another thematic submission request for the coming season
from a Candian artist-run center and this one rang alarm bells,
so I would like to ask your patience in considering the following issue;
As more artist-run centers determine a theme and subject
for their yearly programming, it is creating a trend
whereby artists illustrate predetermined curatorial concepts.
The growing creative restrictions imposed
may limit diversity and the emergence of personal vision.
Sincerely,
--
Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846
647-292-1846
http://www.mikidot.com
dv
_____
Van: owner-list@rhizome.org [mailto:owner-list@rhizome.org] Namens
miklos@sympatico.ca
Verzonden: dinsdag 30 mei 2006 20:17
Aan: events@instantcoffee.org
CC: list@rhizome.org; info@flackattack.org
Onderwerp: RHIZOME_RAW: An open letter to artist-run centers
An open letter to artist-run centers
I received another thematic submission request for the coming season
from a Candian artist-run center and this one rang alarm bells,
so I would like to ask your patience in considering the following issue;
As more artist-run centers determine a theme and subject
for their yearly programming, it is creating a trend
whereby artists illustrate predetermined curatorial concepts.
The growing creative restrictions imposed
may limit diversity and the emergence of personal vision.
Sincerely,
--
Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846
647-292-1846
http://www.mikidot.com
erotoroterotype#1: mauricio nannucci
http://www.vilt.net/nkdee/erotoroterotypes.jsp?erotoroterotype=nannucci
erotoroterotype= a bilingual en/nl flash animated typographical thing
#1 (4/3) after Mauricio Nannucci : Poem, 1969 ("the missing poem is the
poem")
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
[The NKdeE moves in several directions. Whenever a new direction is
perceived, a message like this is sent to several mailing-lists i am
subscribed to. Sorry for any cross-posting.]
erotoroterotype= a bilingual en/nl flash animated typographical thing
#1 (4/3) after Mauricio Nannucci : Poem, 1969 ("the missing poem is the
poem")
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
[The NKdeE moves in several directions. Whenever a new direction is
perceived, a message like this is sent to several mailing-lists i am
subscribed to. Sorry for any cross-posting.]