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.
Re: Re: RHIZOME_RARE: Metadata
cool game.
ima still wkinda workin on the flip book thingie anna the zoetrope is 4ever
gone missin but yeah: all true on ze rest of 'm. So what's the high score
todate u said?
Dirk Vekemans, poet - freelance webprogrammer,
Central Authoring Process of the
Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
dv@vilt.net
http://www.vilt.net
http://www.viltdigitalvision.com
> -----Oorspronkelijk bericht-----
> Van: owner-list@rhizome.org [mailto:owner-list@rhizome.org]
> Namens Richard Rinehart
> Verzonden: dinsdag 2 mei 2006 0:37
> Aan: G.H. Hovagimyan; list@rhizome.org
> Onderwerp: RHIZOME_RAW: Re: RHIZOME_RARE: Metadata
>
> This is very helpful. It makes me think that perhaps Rhizome
> could (with all of your help :) compile a list of relevant
> terms from a variety of sources, include that in a new
> metadata model and submission form (terms along with sources
> are listed as options), and then add on a dynamic
> folksonomies function. I don't want to speak for what Rhizome
> could do, but it seems to make sense.
>
> Richard Rinehart
>
>
> >gh replies:
> >
> >I just did a search on the Getty for digital art. It has no such
> >category. I then did a search on Wikipedia and got a fairly concise
> >definition page for digital art. I would suggest that you look at
> >wikipedia as one source for a search taxonomy. They are real good at
> >this. Definitions for art works are always tricky. For example,
> >animation art is a good term. It can cover a really broad
> category that
> >goes from animated photography to cartoons. Here's a quick
> rumination
> >on animation ;-)
> >
> >Animation:
> >paper
> >flip book
> >zoetrope
> >cartoon
> >digital
> >vector
> >photo
> >morph
> >hand made
> >illustration
> >Disney
> >commercial
> >Flash
> >early
> >story board
> >artists
> >performance
> >
> >I could go on...
> >
> >
> >
> >On Apr 25, 2006, at 9:28 PM, Richard Rinehart wrote:
> >
> >>
> >>To view this entire thread, click here:
> >>http://rhizome.org/thread.rhiz?thread!206&textA392#41392
> >>
> >>+ + +
> >>
> >>Hello Rhizomes,
> >>
> >>I'm writing to follow up on Lauren's email about the
> Rhizome ArtBase
> >>and to kick off a conversation about the language we use to
> describe
> >>works in the ArtBase.
> >>
> >>There are different types of metadata relevant to works in
> the ArtBase
> >>and some are fairly straightforward such as Creators, Dates, and
> >>Titles. But the type of metadata that is most problematic
> and at the
> >>same time most community-driven is descriptive metadata
> such as Type,
> >>Genre, and Keywords. The data-values used to fill out those
> metadata
> >>are terms taken from vocabularies (the lists of different types,
> >>genres, etc.) If you have ever submitted a work to the ArtBase, you
> >>know what these look like: Types include animation-art, audio-art,
> >>etc.; Genres include abstract-art, allegory-art, etc; and Keywords
> >>include access, animation, archive, etc. (a full list of Rhizome's
> >>data-values/vocabularies follows below).
> >>
> >>Rhizome would like to update the vocabularies it uses for this
> >>descriptive metadata. Rhizome has cited three reasons for changing;
> >>the vocabularies are incomplete, the vocabularies are
> however key as
> >>they are how visitors search the vast Rhizome site, and lastly, but
> >>not least, there is no canon or authoritative source for
> terms related
> >>to digital art, so Rhizome can take this practical need and turn it
> >>into an opportunity to engage a community discussion about
> >>vocabularies and to set an example for others to follow.
> All metadata
> >>specific to one discipline, but especially vocabularies,
> need to arise
> >>from the community's practice and not be imposed from
> outside or the
> >>descriptions and the artifacts being described will never
> quite match
> >>up. It is also important to collaborate and coordinate with other
> >>groups working on digital art metadata and preservation, so that's
> >>another reason to have this conversation on RAW and why
> Rhizome will
> >>also be convening people from the Variable Media, Archiving
> the Avant
> >>Garde, and Canadian DOCAM projects to discuss this as well.
> >>
> >>Some questions and considerations that might get the
> conversation started:
> >>
> >>1) Do Rhizome's vocabularies need to be compatible with
> other metadata
> >>standards? If so, which, and how much?
> >>
> >>Thoughts: Many other disciplines and communities use what they call
> >>"controlled" vocabularies or authoritative thesauri. For
> instance the
> >>art world has used the Getty's Art and Architecture Thesaurus for
> >>years
> >>(http://www.getty.edu/research/conducting_research/vocabular
> ies/aat/).
> >>Systems are then built using these vocab standards. If
> Rhizome were in
> >>some way compatible with these standards, then new search engines
> >>could search across distributed art resources online from Getty
> >>databases to Rhizome's ArtBase ensuring that digital art is not
> >>"ghettoized" because of incompatible languages. Interoperability is
> >>important in a semantic as well as technical sense, but luckily
> >>compatibility does not necessarily require that one adopt the
> >>"authoritative" vocabulary completely, or exclusively.
> >>
> >>2) What can we propose here that Rhizome can practically accomplish
> >>given limited resources?
> >>
> >>The larger cultural world is cursed with a plethora of metadata
> >>"standards" and vocabularies that are so complex that no one can
> >>afford to implement them and thus they go unused and
> interoperability
> >>remains a theoretical concept. We should be smarter than that. A
> >>simple system that works and can be realistically
> maintained is worth
> >>more than a complex solution that never happens.
> >>
> >>3) Currently the metadata that uses vocabularies is divided
> into type,
> >>genre, and keywords -- are these categories sufficient?
> Should we add
> >>others?
> >>
> >>Thoughts: Many other disciplines and communities use metadata
> >>categories similar to this. For instance, in various
> art-world/museum
> >>metadata standards they use Genre to indicate a broad category
> >>("painting"), then Type to indicate a format within the Genre
> >>("watercolor"), and then Subject (keywords) to indicate
> "intellectual
> >>access points" ("landscape") that people will search on to find the
> >>record.
> >>
> >>4) Do we want to enhance/ elaborate/ add on to our existing
> >>descriptive terms or keep the current controlled vocab as
> is, and make
> >>folksonomy also an option?
> >>
> >>Thoughts: Can one use folksonomies or other dynamic systems
> to keep a
> >>vocabulary fresh yet still retain some level of compatibility with
> >>other standards?
> >>
> >>5) who is the artbase for? Who is its audience, and how does that
> >>affect our re-design of the metadata.
> >>
> >>Thoughts: Related to this is the question of what the
> long-term use of
> >>the ArtBase should or will be and how can we support that
> with better
> >>vocabularies?
> >>
> >>So, let the games begin! What do you think?
> >>
> >>Richard Rinehart
> >>
> >>----------------------------
> >>Rhizome ArtBase Vocabularies
> >>
> >>TYPE
> >>The type field describes the abstract media type of the art object.
> >>
> >>-Animation-art work in which motion graphics play a
> significant role
> >>-Audio-art work has strong audio component -Game-art work
> is a game or
> >>involves gaming in significant ways -Installation-art
> object documents
> >>a physical installation -Performance-art object documents a
> >>performative art work -Software-art work is an executable
> program or
> >>involves original stand-alone software -Video-art object uses
> >>Quicktime, RealVideo, or other time-based video -Virtual-art work
> >>creates a 3D, immersive or otherwise virtual world
> -Visual-art work is
> >>particularly graphical or especially visual in nature
> -Text-art work
> >>is ASCII or otherwise text-based
> >>
> >>GENRE
> >>The genre field describes the general category of your art object
> >>defined through style, form, or content.
> >>
> >>-Abstract-art object is visually abstract -Allegory-art object uses
> >>allegory or metaphor -Anti-art-art object overtly rejects artistic
> >>conventions or codes -Collaborative-art object was created by more
> >>than one person -Collider-art object dynamically combines material
> >>from various sources -Conceptual-art object is driven primarily by
> >>ideas -Contextual-art object is site-specific, or requires
> a specific
> >>situation to function -Database-art object incorporates
> databases or
> >>archives -Documentary-art object uses found material as
> evidence; art
> >>object records events for posterity; art object uses
> documentary data
> >>-Event-art object is/was an event such as a performance or netcast
> >>-Formalist-art object is primarily concerned with the aesthetics of
> >>form -Generative-art object is created afresh for each viewing
> >>according to certain contingent factors -Historical-art object is
> >>about the recording or revealing of past events
> -Homepage-art object
> >>is (or resembles) a personal website -Information map-art object is
> >>about the visual display of statistical or other quantitative
> >>information -Narrative-art object tells a story -Offline-art object
> >>has a major offline component -Participatory-art object
> requires input
> >>from users -Readymade-art object involves found material not
> >>originally meant to be art -Tactical-art object is example
> of tactical
> >>media; art object is resistive, political or otherwise
> confrontational
> >>-Telematic-art object uses distance communication, or allows for
> >>remote manipulation of objects
> >>
> >>KEYWORDS
> >>
> >> access
> >> animation
> >> archive
> >> art world
> >> artificial life
> >> audio
> >> bio
> >> body
> >> broadcast
> >> browser
> >> CD-ROM
> >> censorship
> >> cinema
> >> colonialism
> >> commercialization
> >> community
> >> conference
> >> corporate
> >> death
> >> design
> >> desire
> >> digital
> >> disappearance
> >> education
> >> email
> >> exhibition
> >> film
> >> fund
> >> futurism
> >> game
> >> gender
> >> globalization
> >> identity
> >> immersion
> >> interact
> >> interface
> >> Internet
> >> labor
> >> language
> >> live
> >> machine
> >> marginality
> >> media activism
> >> meme
> >> memory
> >> nature
> >> net.art
> >> network
> >> nostalgia
> >> performance
> >> posthuman
> >> postmodern
> >> privacy
> >> public space
> >> publish
> >> queer
> >> radio
> >> resistance
> >> responsibility
> >> robot
> >> rumor
> >> security
> >> social space
> >> space
> >> surveillance
> >> tactical media
> >> technophobia
> >> television
> >> Third World
> >> 3D
> >> underground
> >> utopia
> >> video
> >> virtual reality
> >> VRML
> >> War
> >>
> >>
> >>--
> >>
> >>
> >>Richard Rinehart
> >>---------------
> >>Director of Digital Media
> >>Berkeley Art Museum/Pacific Film Archive bampfa.berkeley.edu
> >>---------------
> >>University of California, Berkeley
> >>---------------
> >>2625 Durant Ave.
> >>Berkeley, CA, 94720-2250
> >>ph.510.642.5240
> >>fx.510.642.5269
> >>
> >>+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
> + + + + +
> >>
> >>Rhizome.org is a 501(c)(3) nonprofit organization and an
> affiliate of
> >>the New Museum of Contemporary Art.
> >>
> >>Rhizome Rare is supported by grants from the Rockefeller
> Foundation,
> >>the Andy Warhol Foundation for the Visual Arts, and with
> public funds
> >>from the New York State Council on the Arts, a state agency.
> >>
> >>+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
> + + + + +
> >>
> >>Rhizome Rare is filtered by Rhizome SuperUsers, a dedicated
> group of
> >>volunteer editors. To learn more about becoming a Rhizome
> SuperUser,
> >>please email editor@rhizome.org.
> >>
> >>To unsubscribe from this list, visit http://rhizome.org/subscribe .
> >>
> >>Subscribers to Rhizome Rare are subject to the terms set out in the
> >>Member Agreement available online at http://rhizome.org/info/29.php.
>
>
> --
>
>
> Richard Rinehart
> ---------------
> Director of Digital Media
> Berkeley Art Museum/Pacific Film Archive bampfa.berkeley.edu
> ---------------
> University of California, Berkeley
> ---------------
> 2625 Durant Ave.
> Berkeley, CA, 94720-2250
> ph.510.642.5240
> fx.510.642.5269
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in
> the Membership Agreement available online at
> http://rhizome.org/info/29.php
>
ima still wkinda workin on the flip book thingie anna the zoetrope is 4ever
gone missin but yeah: all true on ze rest of 'm. So what's the high score
todate u said?
Dirk Vekemans, poet - freelance webprogrammer,
Central Authoring Process of the
Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
dv@vilt.net
http://www.vilt.net
http://www.viltdigitalvision.com
> -----Oorspronkelijk bericht-----
> Van: owner-list@rhizome.org [mailto:owner-list@rhizome.org]
> Namens Richard Rinehart
> Verzonden: dinsdag 2 mei 2006 0:37
> Aan: G.H. Hovagimyan; list@rhizome.org
> Onderwerp: RHIZOME_RAW: Re: RHIZOME_RARE: Metadata
>
> This is very helpful. It makes me think that perhaps Rhizome
> could (with all of your help :) compile a list of relevant
> terms from a variety of sources, include that in a new
> metadata model and submission form (terms along with sources
> are listed as options), and then add on a dynamic
> folksonomies function. I don't want to speak for what Rhizome
> could do, but it seems to make sense.
>
> Richard Rinehart
>
>
> >gh replies:
> >
> >I just did a search on the Getty for digital art. It has no such
> >category. I then did a search on Wikipedia and got a fairly concise
> >definition page for digital art. I would suggest that you look at
> >wikipedia as one source for a search taxonomy. They are real good at
> >this. Definitions for art works are always tricky. For example,
> >animation art is a good term. It can cover a really broad
> category that
> >goes from animated photography to cartoons. Here's a quick
> rumination
> >on animation ;-)
> >
> >Animation:
> >paper
> >flip book
> >zoetrope
> >cartoon
> >digital
> >vector
> >photo
> >morph
> >hand made
> >illustration
> >Disney
> >commercial
> >Flash
> >early
> >story board
> >artists
> >performance
> >
> >I could go on...
> >
> >
> >
> >On Apr 25, 2006, at 9:28 PM, Richard Rinehart wrote:
> >
> >>
> >>To view this entire thread, click here:
> >>http://rhizome.org/thread.rhiz?thread!206&textA392#41392
> >>
> >>+ + +
> >>
> >>Hello Rhizomes,
> >>
> >>I'm writing to follow up on Lauren's email about the
> Rhizome ArtBase
> >>and to kick off a conversation about the language we use to
> describe
> >>works in the ArtBase.
> >>
> >>There are different types of metadata relevant to works in
> the ArtBase
> >>and some are fairly straightforward such as Creators, Dates, and
> >>Titles. But the type of metadata that is most problematic
> and at the
> >>same time most community-driven is descriptive metadata
> such as Type,
> >>Genre, and Keywords. The data-values used to fill out those
> metadata
> >>are terms taken from vocabularies (the lists of different types,
> >>genres, etc.) If you have ever submitted a work to the ArtBase, you
> >>know what these look like: Types include animation-art, audio-art,
> >>etc.; Genres include abstract-art, allegory-art, etc; and Keywords
> >>include access, animation, archive, etc. (a full list of Rhizome's
> >>data-values/vocabularies follows below).
> >>
> >>Rhizome would like to update the vocabularies it uses for this
> >>descriptive metadata. Rhizome has cited three reasons for changing;
> >>the vocabularies are incomplete, the vocabularies are
> however key as
> >>they are how visitors search the vast Rhizome site, and lastly, but
> >>not least, there is no canon or authoritative source for
> terms related
> >>to digital art, so Rhizome can take this practical need and turn it
> >>into an opportunity to engage a community discussion about
> >>vocabularies and to set an example for others to follow.
> All metadata
> >>specific to one discipline, but especially vocabularies,
> need to arise
> >>from the community's practice and not be imposed from
> outside or the
> >>descriptions and the artifacts being described will never
> quite match
> >>up. It is also important to collaborate and coordinate with other
> >>groups working on digital art metadata and preservation, so that's
> >>another reason to have this conversation on RAW and why
> Rhizome will
> >>also be convening people from the Variable Media, Archiving
> the Avant
> >>Garde, and Canadian DOCAM projects to discuss this as well.
> >>
> >>Some questions and considerations that might get the
> conversation started:
> >>
> >>1) Do Rhizome's vocabularies need to be compatible with
> other metadata
> >>standards? If so, which, and how much?
> >>
> >>Thoughts: Many other disciplines and communities use what they call
> >>"controlled" vocabularies or authoritative thesauri. For
> instance the
> >>art world has used the Getty's Art and Architecture Thesaurus for
> >>years
> >>(http://www.getty.edu/research/conducting_research/vocabular
> ies/aat/).
> >>Systems are then built using these vocab standards. If
> Rhizome were in
> >>some way compatible with these standards, then new search engines
> >>could search across distributed art resources online from Getty
> >>databases to Rhizome's ArtBase ensuring that digital art is not
> >>"ghettoized" because of incompatible languages. Interoperability is
> >>important in a semantic as well as technical sense, but luckily
> >>compatibility does not necessarily require that one adopt the
> >>"authoritative" vocabulary completely, or exclusively.
> >>
> >>2) What can we propose here that Rhizome can practically accomplish
> >>given limited resources?
> >>
> >>The larger cultural world is cursed with a plethora of metadata
> >>"standards" and vocabularies that are so complex that no one can
> >>afford to implement them and thus they go unused and
> interoperability
> >>remains a theoretical concept. We should be smarter than that. A
> >>simple system that works and can be realistically
> maintained is worth
> >>more than a complex solution that never happens.
> >>
> >>3) Currently the metadata that uses vocabularies is divided
> into type,
> >>genre, and keywords -- are these categories sufficient?
> Should we add
> >>others?
> >>
> >>Thoughts: Many other disciplines and communities use metadata
> >>categories similar to this. For instance, in various
> art-world/museum
> >>metadata standards they use Genre to indicate a broad category
> >>("painting"), then Type to indicate a format within the Genre
> >>("watercolor"), and then Subject (keywords) to indicate
> "intellectual
> >>access points" ("landscape") that people will search on to find the
> >>record.
> >>
> >>4) Do we want to enhance/ elaborate/ add on to our existing
> >>descriptive terms or keep the current controlled vocab as
> is, and make
> >>folksonomy also an option?
> >>
> >>Thoughts: Can one use folksonomies or other dynamic systems
> to keep a
> >>vocabulary fresh yet still retain some level of compatibility with
> >>other standards?
> >>
> >>5) who is the artbase for? Who is its audience, and how does that
> >>affect our re-design of the metadata.
> >>
> >>Thoughts: Related to this is the question of what the
> long-term use of
> >>the ArtBase should or will be and how can we support that
> with better
> >>vocabularies?
> >>
> >>So, let the games begin! What do you think?
> >>
> >>Richard Rinehart
> >>
> >>----------------------------
> >>Rhizome ArtBase Vocabularies
> >>
> >>TYPE
> >>The type field describes the abstract media type of the art object.
> >>
> >>-Animation-art work in which motion graphics play a
> significant role
> >>-Audio-art work has strong audio component -Game-art work
> is a game or
> >>involves gaming in significant ways -Installation-art
> object documents
> >>a physical installation -Performance-art object documents a
> >>performative art work -Software-art work is an executable
> program or
> >>involves original stand-alone software -Video-art object uses
> >>Quicktime, RealVideo, or other time-based video -Virtual-art work
> >>creates a 3D, immersive or otherwise virtual world
> -Visual-art work is
> >>particularly graphical or especially visual in nature
> -Text-art work
> >>is ASCII or otherwise text-based
> >>
> >>GENRE
> >>The genre field describes the general category of your art object
> >>defined through style, form, or content.
> >>
> >>-Abstract-art object is visually abstract -Allegory-art object uses
> >>allegory or metaphor -Anti-art-art object overtly rejects artistic
> >>conventions or codes -Collaborative-art object was created by more
> >>than one person -Collider-art object dynamically combines material
> >>from various sources -Conceptual-art object is driven primarily by
> >>ideas -Contextual-art object is site-specific, or requires
> a specific
> >>situation to function -Database-art object incorporates
> databases or
> >>archives -Documentary-art object uses found material as
> evidence; art
> >>object records events for posterity; art object uses
> documentary data
> >>-Event-art object is/was an event such as a performance or netcast
> >>-Formalist-art object is primarily concerned with the aesthetics of
> >>form -Generative-art object is created afresh for each viewing
> >>according to certain contingent factors -Historical-art object is
> >>about the recording or revealing of past events
> -Homepage-art object
> >>is (or resembles) a personal website -Information map-art object is
> >>about the visual display of statistical or other quantitative
> >>information -Narrative-art object tells a story -Offline-art object
> >>has a major offline component -Participatory-art object
> requires input
> >>from users -Readymade-art object involves found material not
> >>originally meant to be art -Tactical-art object is example
> of tactical
> >>media; art object is resistive, political or otherwise
> confrontational
> >>-Telematic-art object uses distance communication, or allows for
> >>remote manipulation of objects
> >>
> >>KEYWORDS
> >>
> >> access
> >> animation
> >> archive
> >> art world
> >> artificial life
> >> audio
> >> bio
> >> body
> >> broadcast
> >> browser
> >> CD-ROM
> >> censorship
> >> cinema
> >> colonialism
> >> commercialization
> >> community
> >> conference
> >> corporate
> >> death
> >> design
> >> desire
> >> digital
> >> disappearance
> >> education
> >> exhibition
> >> film
> >> fund
> >> futurism
> >> game
> >> gender
> >> globalization
> >> identity
> >> immersion
> >> interact
> >> interface
> >> Internet
> >> labor
> >> language
> >> live
> >> machine
> >> marginality
> >> media activism
> >> meme
> >> memory
> >> nature
> >> net.art
> >> network
> >> nostalgia
> >> performance
> >> posthuman
> >> postmodern
> >> privacy
> >> public space
> >> publish
> >> queer
> >> radio
> >> resistance
> >> responsibility
> >> robot
> >> rumor
> >> security
> >> social space
> >> space
> >> surveillance
> >> tactical media
> >> technophobia
> >> television
> >> Third World
> >> 3D
> >> underground
> >> utopia
> >> video
> >> virtual reality
> >> VRML
> >> War
> >>
> >>
> >>--
> >>
> >>
> >>Richard Rinehart
> >>---------------
> >>Director of Digital Media
> >>Berkeley Art Museum/Pacific Film Archive bampfa.berkeley.edu
> >>---------------
> >>University of California, Berkeley
> >>---------------
> >>2625 Durant Ave.
> >>Berkeley, CA, 94720-2250
> >>ph.510.642.5240
> >>fx.510.642.5269
> >>
> >>+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
> + + + + +
> >>
> >>Rhizome.org is a 501(c)(3) nonprofit organization and an
> affiliate of
> >>the New Museum of Contemporary Art.
> >>
> >>Rhizome Rare is supported by grants from the Rockefeller
> Foundation,
> >>the Andy Warhol Foundation for the Visual Arts, and with
> public funds
> >>from the New York State Council on the Arts, a state agency.
> >>
> >>+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
> + + + + +
> >>
> >>Rhizome Rare is filtered by Rhizome SuperUsers, a dedicated
> group of
> >>volunteer editors. To learn more about becoming a Rhizome
> SuperUser,
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> Richard Rinehart
> ---------------
> Director of Digital Media
> Berkeley Art Museum/Pacific Film Archive bampfa.berkeley.edu
> ---------------
> University of California, Berkeley
> ---------------
> 2625 Durant Ave.
> Berkeley, CA, 94720-2250
> ph.510.642.5240
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FW: software art (noising like its some pretext from the backrow)
In the beginning was the word and the word was with g*d and the word was g*d
untsoweiter. In the beginning the continuum was the continuum was the
continuum untsoweiter ..In the beginning was the beginning beginning the
beginning untsoweiter ...
nel mezzo cammin di nostro vita is not the same as in the middle of the
course of our lives Why bother? Because nel mezzo cammin... is not the same
as in the middle of the... Untsoweiter ...
Why is peace not the same as vrede? Because the initiating of the running
code "peace" started at a different time than the initiating of the
coagulated running code "vrede"?
Why do languages live? Because they rub each other's backs.
In the beginning of this text there is the beginning of this text which is
not the same as the beginning of this text in the beginning of this text
untsoweiter
Scale matters, position matters, division matters, time matters. Even if
time is a human illusion, time matters. Literally. (In Dutch you can only
say "doet er toe", you can't make the "matter" link,- does that mean
anything? Sure, it's a comment on the configuration as we are having it.)
On what basis are you going to have a protocol, at which "level" of the
continuum, the line indicating where traversals can be made?
What does the <http:///> http:// protocol actually do? Nothing. It observes
the flow of data. Does it change the flow of data? Is it not observerving
the flow of data? Does it not interfere with the flow of data? Do we not
bleed when you...
Observance comes at a cost. The cost is called the digital divide. It looses
data while cutting them. Why loss? Because you are cutting, changing
positions of non-existent entities, you are making entities, objects. You're
quantum leaping from wave to particles. Wehen making the cut, you gotta
consider where you're going to make it, but you'll always lose. There's no
red and green wire to choose from, it's only one wire, , the bomb will
always explode in your face...
The digital revolution is about refining the grid but you cannot ungrid the
grid. The point of no return is when matter itself says to you "hi, you're
cutting me". At that moment you already are within the grid, you have made
the choice (to cut or not to cut, that one).
Redemption? Cut again.
Why not the agreement of "universal language" at the xml-level? Would there
be any difference where you draw the line? As things are there is a plethora
of reasons to draw the starting line of "namespaces" at the xml level
- humans can read/write it
- machines can read/write it
- business needs it
If not, what are you going to measure? Below? The remainders of analog
noise? Sure there is "meaning" left in analog noise. Connect to the
"noise"of Ultra Short Frequency and you will hear it. Do sea waves mean
something? Sure, why not. Where are you going to establish an art://
protocol? One that makes agreements on the meaning of seawaves? On the cries
of the doves? Who will understand it? who will be able to read/write to it?
Why agree at all? Because then you can start garbaging, recycling the
losses.
Or: not at all, let it swing, hang loose, disagree, object, phantom, pray,
obsess, incorporate, mislead, defy, acknowledge, breath, die, resurrect,
(re)verb...
untsoweiter. In the beginning the continuum was the continuum was the
continuum untsoweiter ..In the beginning was the beginning beginning the
beginning untsoweiter ...
nel mezzo cammin di nostro vita is not the same as in the middle of the
course of our lives Why bother? Because nel mezzo cammin... is not the same
as in the middle of the... Untsoweiter ...
Why is peace not the same as vrede? Because the initiating of the running
code "peace" started at a different time than the initiating of the
coagulated running code "vrede"?
Why do languages live? Because they rub each other's backs.
In the beginning of this text there is the beginning of this text which is
not the same as the beginning of this text in the beginning of this text
untsoweiter
Scale matters, position matters, division matters, time matters. Even if
time is a human illusion, time matters. Literally. (In Dutch you can only
say "doet er toe", you can't make the "matter" link,- does that mean
anything? Sure, it's a comment on the configuration as we are having it.)
On what basis are you going to have a protocol, at which "level" of the
continuum, the line indicating where traversals can be made?
What does the <http:///> http:// protocol actually do? Nothing. It observes
the flow of data. Does it change the flow of data? Is it not observerving
the flow of data? Does it not interfere with the flow of data? Do we not
bleed when you...
Observance comes at a cost. The cost is called the digital divide. It looses
data while cutting them. Why loss? Because you are cutting, changing
positions of non-existent entities, you are making entities, objects. You're
quantum leaping from wave to particles. Wehen making the cut, you gotta
consider where you're going to make it, but you'll always lose. There's no
red and green wire to choose from, it's only one wire, , the bomb will
always explode in your face...
The digital revolution is about refining the grid but you cannot ungrid the
grid. The point of no return is when matter itself says to you "hi, you're
cutting me". At that moment you already are within the grid, you have made
the choice (to cut or not to cut, that one).
Redemption? Cut again.
Why not the agreement of "universal language" at the xml-level? Would there
be any difference where you draw the line? As things are there is a plethora
of reasons to draw the starting line of "namespaces" at the xml level
- humans can read/write it
- machines can read/write it
- business needs it
If not, what are you going to measure? Below? The remainders of analog
noise? Sure there is "meaning" left in analog noise. Connect to the
"noise"of Ultra Short Frequency and you will hear it. Do sea waves mean
something? Sure, why not. Where are you going to establish an art://
protocol? One that makes agreements on the meaning of seawaves? On the cries
of the doves? Who will understand it? who will be able to read/write to it?
Why agree at all? Because then you can start garbaging, recycling the
losses.
Or: not at all, let it swing, hang loose, disagree, object, phantom, pray,
obsess, incorporate, mislead, defy, acknowledge, breath, die, resurrect,
(re)verb...
a schilsel, along with some other defiNietsels
Several Cathedrals engaged in an attempt to render a Rodin watercolour
http://www.vilt.net/nkdee/rodin2.jsp
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
http://www.vilt.net/nkdee/rodin2.jsp
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
Re: T
Indeed monsieur Omeroglu or is it madame, i do see some striking
similarities, conceptually. And thank you for mentioning it to me.
Donc, je vous propose to further sporadically collaborate, perhaps our
collected impressions can crystallize in some bloggish utterances on Self
that spread, on Identity dissolving, on Crises evolving, the entangled West,
the imbroglio of the East, the abundance of the South, the audacity of the
Middle untsoweiter.
As is evidently shown in this succesful initiative (some pictures will be
added and hopefully my friend J. D. who is involved in the project in situ,
can help me to establish some kind of lasting impression upon our modest
audience, so that It may come to think of the "proje" as something inspiring
in an aesthetically 'relevant' way as well and something you could almost
put your hand on) simple things involving lots of smart people working
together don't need much in the way of hyper coolness. Even a dumb & devious
a******* like me can see that.
Any discussion on giving such a dimension to these humble mediatic quantum
leaps is of course doomed to end in irrelevance or faced with the relentless
stoppages of ideology. Instead i am reminded of a 'Radio' song by Jonathan
Richman and The Modern Lovers, something utterly simple, i don't even
remember it's title, but i'm sure someone will. There's always an ice-cream
man lover reading these Real Simple Syndicated Garbage.
More importantly, and dropping this pseudo-artistic facade altogether, some
attention might be brought to serious matters like these in Rwanda, similar
attempts to escape the vicious circle of violence in your country, the
climate of fear, rising hatred and increasing intolerance in my own, and the
bleeding vessels of visiounoutica surrounding our decaying globe and how we,
the you of me and the me of you, can reflect and come to some kind of
conclusion that could fit our most eager aspirations, circling like hungry
flies around the corpses of forlorn dogma's of Western Art, or sniffing like
rats caught in your corporate camera gnawing away at the Body of Artistic
Achievement.
We know what we want, but in which way are we allowed to want it by us in
the mirror of things? a shoe needs to found, one for each of us workers, let
the other remain barefoot just to remind us we live in luxury, to steer us
away from early satisfaction, to keep us starting up, breaking down, stumble
and walking in a meaningful direction, a benevolent tendency in the vast
multiplicity of cycles commonly known as the way. None is the one & up &
down are all asynchronically in favor of denial but in the noise of spinning
spam-o-laundries that these net opera's really are, all of our talk ends up
in simple waves, so let us observe the foam we built as one of joy, not
hope, because hope only diminishes the much needed acceptance of the reality
in our present moments.
As these short radio waves succeed in breaking the deeper tidal ones of
bloodshed, perhaps our humble blurtings going prrt prrt in the intuitive
rhytms of the lyrical will eventually succeed in joining others, interfere
with a larger interference, bringing about an uprising from greater depths
that would leave our children in a less shameful position to
amateuristically aspire for the sublime.
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
http://handsproje3.blogspot.com/
http://handsproje3-droits.blogspot.com/
...
...
> -----Oorspronkelijk bericht-----
> Van: utku omeroglu [mailto:utku_omeroglu@yahoo.com]
> Verzonden: vrijdag 28 april 2006 15:11
> Aan: Dirk Vekemans; list@rhizome.org
> Onderwerp: Re: RHIZOME_RAW: T
>
>
> --- Dirk Vekemans <dv@vilt.net> wrote:
>
> > The basic idea and vision behind
> >
> > http://handsproje3.blogspot.com/
>
>
>
> Send instant messages to your online friends
> http://uk.messenger.yahoo.com
>
similarities, conceptually. And thank you for mentioning it to me.
Donc, je vous propose to further sporadically collaborate, perhaps our
collected impressions can crystallize in some bloggish utterances on Self
that spread, on Identity dissolving, on Crises evolving, the entangled West,
the imbroglio of the East, the abundance of the South, the audacity of the
Middle untsoweiter.
As is evidently shown in this succesful initiative (some pictures will be
added and hopefully my friend J. D. who is involved in the project in situ,
can help me to establish some kind of lasting impression upon our modest
audience, so that It may come to think of the "proje" as something inspiring
in an aesthetically 'relevant' way as well and something you could almost
put your hand on) simple things involving lots of smart people working
together don't need much in the way of hyper coolness. Even a dumb & devious
a******* like me can see that.
Any discussion on giving such a dimension to these humble mediatic quantum
leaps is of course doomed to end in irrelevance or faced with the relentless
stoppages of ideology. Instead i am reminded of a 'Radio' song by Jonathan
Richman and The Modern Lovers, something utterly simple, i don't even
remember it's title, but i'm sure someone will. There's always an ice-cream
man lover reading these Real Simple Syndicated Garbage.
More importantly, and dropping this pseudo-artistic facade altogether, some
attention might be brought to serious matters like these in Rwanda, similar
attempts to escape the vicious circle of violence in your country, the
climate of fear, rising hatred and increasing intolerance in my own, and the
bleeding vessels of visiounoutica surrounding our decaying globe and how we,
the you of me and the me of you, can reflect and come to some kind of
conclusion that could fit our most eager aspirations, circling like hungry
flies around the corpses of forlorn dogma's of Western Art, or sniffing like
rats caught in your corporate camera gnawing away at the Body of Artistic
Achievement.
We know what we want, but in which way are we allowed to want it by us in
the mirror of things? a shoe needs to found, one for each of us workers, let
the other remain barefoot just to remind us we live in luxury, to steer us
away from early satisfaction, to keep us starting up, breaking down, stumble
and walking in a meaningful direction, a benevolent tendency in the vast
multiplicity of cycles commonly known as the way. None is the one & up &
down are all asynchronically in favor of denial but in the noise of spinning
spam-o-laundries that these net opera's really are, all of our talk ends up
in simple waves, so let us observe the foam we built as one of joy, not
hope, because hope only diminishes the much needed acceptance of the reality
in our present moments.
As these short radio waves succeed in breaking the deeper tidal ones of
bloodshed, perhaps our humble blurtings going prrt prrt in the intuitive
rhytms of the lyrical will eventually succeed in joining others, interfere
with a larger interference, bringing about an uprising from greater depths
that would leave our children in a less shameful position to
amateuristically aspire for the sublime.
greetings,
dv @ Neue Kathedrale des erotischen Elends
http://www.vilt.net/nkdee
http://handsproje3.blogspot.com/
http://handsproje3-droits.blogspot.com/
...
...
> -----Oorspronkelijk bericht-----
> Van: utku omeroglu [mailto:utku_omeroglu@yahoo.com]
> Verzonden: vrijdag 28 april 2006 15:11
> Aan: Dirk Vekemans; list@rhizome.org
> Onderwerp: Re: RHIZOME_RAW: T
>
>
> --- Dirk Vekemans <dv@vilt.net> wrote:
>
> > The basic idea and vision behind
> >
> > http://handsproje3.blogspot.com/
>
>
>
> Send instant messages to your online friends
> http://uk.messenger.yahoo.com
>
PERA!
http://www.vilt.net/nkdee/benevolencija/
this concludes tonight's nAart mailsession
***
[commissioned by the Axes of Evil, the Sex A of Live Commitment to Spelling
Mistakes & re the g*d of evol]
***
greetings,
dv @ Neue Kathedrale des Erotischen Elends
http://www.vilt.net/nkdee
this concludes tonight's nAart mailsession
***
[commissioned by the Axes of Evil, the Sex A of Live Commitment to Spelling
Mistakes & re the g*d of evol]
***
greetings,
dv @ Neue Kathedrale des Erotischen Elends
http://www.vilt.net/nkdee