Ivan Pope
Since the beginning
Works in Brighton United States of America

BIO
In the place where analogue and digital overlap, that's why you will find me in the kitchen at parties.
Everything is at my site, http://blog.ivanpope.com
Discussions (225) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

Re: dorkbotlondon, wednesday 9th october 2002


>
>> D O R K B O T L O N D O N <
>

> * Mil Millington, "arguments with his girlfriend"
> [http://www.thingsmygirlfriendandihavearguedabout.com/]
Well, Id like to come along just to see what this has to do with doing
things with electricity. Or to tell him to Grow Up. I mean, a jokes a joke,
but how fucking long can you belabour it. Ivan

DISCUSSION

Re: simon pope: art for networks


> I understand it very clearly, it is merely a group of people closing a
door
> behind themselves - thats show biz!
>

Surely they are in:

> > a process of
> > 'self-historicising'.

:-)
Ivan

> > Does anyone understand this?
> > michael
> > --- matthew fuller <matt@axia.demon.co.uk> wrote:
> > >
> > >
> > >
> > > The following interview is carried out in connection
> > > with opening of
> > > a show 'Art for Networks' starting now at Chapter
> > > Arts Centre,
> > > Cardiff, Wales. (It tours afterwards.) The show
> > > includes work by:
> > > Rachel Baker, Anna Best, Heath Bunting, Adam
> > > Chodzko, Ryosuke Cohen,
> > > Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> > > Radio Aqualia,
> > > Stephen Willats, Talkeoke, Technologies to the
> > > People.
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > 6 Questions in search of a network
> > >
> > > 1. Matthew Fuller: In the original Art for Networks
> > > project you state
> > > that one of the motivations of the work was to
> > > discover another set
> > > of relations for art on the internet. What was
> > > argued against was
> > > the idea that network art could be categorised
> > > according to a certain
> > > chronology. This chronology slotted certain works
> > > into a history
> > > primarily on the basis of how closely they married
> > > themselves to
> > > technological developments. What was suggested
> > > instead was that there
> > > was a whole wider sense of networks that are being
> > > made and used by
> > > artists. Do you think that this statement of an
> > > alternate set of
> > > trajectories still holds true or polemically
> > > necessary?
> > >
> > > Simon Pope: The Art for Networks project was
> > > initially devised as a
> > > way of making sense of, and investigating how to
> > > move beyond,
> > > so-called 'net.art'. This definition was, as Heath
> > > Bunting (1) has
> > > said, 'a joke and a fake' anyway, but held sway in
> > > some circles.
> > >
> > > 'Net.Art' signified a technical art of the Internet
> > > or, more
> > > specifically, the Web. It was defined as a
> > > progression through
> > > clearly defined stylistic and technical phases: from
> > > an Avant Garde,
> > > through 'high period' Web-based net.art and
> > > interminable Mannerist
> > > replays, all the while waiting for the emergence of
> > > the new Avant
> > > Garde...
> > > This lame art historical approach denies wider or
> > > longer views of how
> > > artists and their work operate.
> > >
> > > The demand for a neat, linear art history becomes a
> > > real problem for
> > > anyone it implicates. As Jodi are quoted as saying
> > > "We never choose
> > > to be net.artists or not."(2) Pinned onto this
> > > restrictive and
> > > arbitrary time-line, artists have their destinies
> > > plotted for them.
> > > It was time to take Stewart Home's cue (3) and begin
> > > a process of
> > > 'self-historicising'. The exploration of more
> > > expansive definitions
> > > of 'network' is part of this, at first through
> > > interviews and
> > > presentations in 2000 and now through this
> > > exhibition.
> > >
> > > 2. MF: If the show works through various uses and
> > > creations of
> > > networks as art, were there any ways in which this
> > > focus inflected
> > > the way in which the show was curated? Can we
> > > imagine a curation for
> > > networks?
> > >
> > > SP: 'Network' isn't used here as an 'ideal concept'
> > > (4). It remains
> > > open to interpretation and ongoing enquiry by the
> > > participating
> > > artists. The network becomes a field, terrain or
> > > environment through
> > > which to operate on, in or through.
> > >
> > > Networks have been described in many ways, often at
> > > the moment where
> > > some phenomenon eludes an accepted form of
> > > classification: Landow
> > > reminds us that Foucault adopts the network when
> > > describing the means
> > > "...to link together a wide range of often
> > > contradictory taxonomies,
> > > observations, interpretations, categories, and rules
> > > of observation."
> > > (5). Jeremy Deller's work often exemplifies this,
> > > for example.
> > >
> > > Josephine Berry noted that "The term 'networks' has
> > > nearly become a
> > > cipher for saying 'everything' with the proviso that
> > > 'everything' be
> > > framed by technology" (6).
> > > Jodi's 'Wrong Browser' project continues their
> > > scrutiny of the
> > > conventions of the most popular of these
> > > technologies that link
> > > 'everything', the Web Browser. (7).
> > >
> > > Others artists are not concerned with technology as
> > > such. They
> > > investigate social networks, distributed knowledge
> > > or social
> > > protocols, for example.
> > >
> > > Together, all of the artists in this show help us
> > > speculate, with the
> > > widest possible scope, on what an art for networks
> > > might be.
> > >
> > > 3. MF: Perhaps it is useful to think about two of
> > > the modes of
> > > network that currently exist. There's the
> > > development of systems that
> > > take heterogeneous material and connect it through a
> > > unifying,
> > > reductive, measurable protocol. Another might be
> > > informatisation -
> > > that everything can be transposed into a
> > > transmissable and calculable
> > > numerical 'equivalent'. Perhaps these kinds of
> > > networking
> > > technologies are linked to the idea of a discovery
> > > of an ur-language,
> > > a code that precedes all codes.
> > > A different kind of network might be that which
> > > is deliberately
> > > non-compressible, that generates its own terms of
> > > composition as it's
> > > enacted; rather than reducing one thing to its
> > > intermediary, it
> > > focuses on inventing new connections, proximities,
> > > conjunctural
> > > leaps.
> > >
> > > SP: The unifying system forces homogeneity onto
> > > previously
> > > heterogeneous material and has plenty of historical
> > > precedents such
> > > as systematic classification in Zoology, the Dewey
> > > decimal system.
> > > Objectified matter is ordered, processed - the
> > > system aims for
> > > closure, completeness.
> > > In your second example, the subject resists
> > > classification or
> > > reduction to a cipher. For example, in
> > > organizations, there's always
> > > tension between structure - invariably hierarchical
> > > - and those who
> > > work within it. Despite the most ruthless
> > > line-management, the
> > > subject - individual or group - will find ways of
> > > subverting the
> > > structure. A common form of resistance is the
> > > 'gossip network'.
> > > Rachel Baker's 'Art of Work', for example, has
> > > previously inserted
> > > itself into this context. (8)
> > >
> > > I think Manuel De Landa's model (9) of meshworks and
> > > hierarchies is
> > > useful here and relates, (at least in my
> > > understanding of it), to the
> > > relationship between networks, hierarchies, agency
> > > and structure.
> > >
> > > Meshworks (networks) and hierarchies exist as a
> > > mixture. The meshwork
> > > formed as an aggregate of dissimilar, heterogeneous
> > > material, the
> > > hierarchy from similar, homogeneous material,
> > > forming strata. They
> > >
> > === message truncated ===
> >
> >
> > =====
> > http://www.somedancersandmusicians.com/
> >
> > __________________________________________________
> > Do you Yahoo!?
> > New DSL Internet Access from SBC & Yahoo!
> > http://sbc.yahoo.com
> > + Well this is thoroughly depressing
> > -> 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
> >
> >
>
>
> + Well this is thoroughly depressing
> -> 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
>

DISCUSSION

Fw: [b10me] Hospital Festival


----- Original Message -----
From: Evelyn Wilson <Evelyn@lighthouse.org.uk>
To: <b10me@lists.b10me.org.uk>
Sent: Tuesday, October 01, 2002 12:47 PM
Subject: [b10me] Hospital Festival

> Apologies for any cross-posting
>
> Hope to see some of you at Hospital. http://www.hospitalfestival.org.uk
>
> Best
>
> Evelyn Wilson
>
>
> _______________________________________________
> b10me mailing list
> b10me@lists.b10me.org.uk
> http://lists.b10me.org.uk/mailman/listinfo/b10me
>

DISCUSSION

Re: Rhizome's Book Club


> Spent the last few months working my way through all
> that's translated of Primo Levi (staggering writer,
> staggering human being) )

I've always wanted to say this, so I will seize my chance.
Primo Levi's 'If this is a Man' comes (in the UK, anyway) as a double volume
with 'The Truce'. If this is a Man is a staggering work, leaves you gasping.
But, The Truce, readable and gripping as it is, is a book of jolly japes and
hard times on the road back home. I could not believe that Levi wrote it,
really. And I could not believe that the publishers could bind it with If
this is a Man.

Phew. Said it.

I love books also.

Ivan

DISCUSSION

Re: Rhizome's Book Club


I got that book as a spontaneous present from my
cousin/compadre/co-conspirator Greg a while back. Brilliant. Matta Clark,
what a guy. We used to do events in all sorts of empty buildings. Cutting
them up was optional, though usually happened to some degree. We once did a
show in an empty 20 story tower in Birmingham (England). Someone hammered a
hole through the side of the building and stuck the prow of a large
cardboard boat out 15 stories up. Oh joy.
I liked Matta Clark's cut up of a NY pier. Danger, art and light all messed
up in one wonderous space.
Ivan
----- Original Message -----
From: Mark River <mriver102@yahoo.com>
To: <list@rhizome.org>
Sent: Wednesday, September 25, 2002 3:27 PM
Subject: Re: RHIZOME_RAW: Rhizome's Book Club

> I'm reading Pamela Lee's "Object to Be Destroyed: The
> Work of Gordon Matta-Clark", that t.whid gave to me
> for my birthday on Sunday.
>
> Rough idea to add to the Update series:
> (mattaclarkupdate)
>
> 1. Find and acquire abandoned web site (any leads on
> this from Rhizomers would be cool)
>
> 2. Remove segments of source code
>
> 3. Find some code that will refresh the page so that
> it flips back and forth between the old page and the
> new "cut" page.
>
> 4. Somehow, in the hole that will be created between
> sites, insert unrealted content.
>
> Oh, and for fun I'm reading some PK Dick.
>
>
>
> <twhid@mteww.com> wrote:
> > i'm reading "The Way We Live Now" by Trollope
> > (victorian writer) and
> > I've just finished "Life On The Mississippi" (kinda
> > boring) and
> > "Huck. Finn"(totally flooring) by Twain. I read on
> > the train
> > generally. This is the first time in a long time
> > that i've found time
> > to read fiction.
> >
> > Of course these are all ebooks on my pda (can't go
> > all the way back
> > to analog ;-)
> >
> > >> I like books! Who is with me?
> > >
> >
> > --
> > <twhid>
> > http://www.mteww.com
> > </twhid>
> > + the assholes playground
> > -> 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
>
>
> =====
> http://mteww.com
> http://tinjail.com
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> + Barbarians at the XOR-gate
> -> 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
>