ARTBASE (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
Re: Re: Paris Connection in relation to early net.art
> true jim, servovalve et al and the PC project is magnifique.
> funny, but I always feel the euro vs the american inheritance.
> at the end it's comes down to personal taste and perhaps where-about we are.
> anyway,
> congra on the super project.
> doron
on further reflection, the rectilinear style isn't new york at all, or eastern europe; it was,
formerly, a way of taking advantage of the restrictions of--but also the nature of--computers.
anti-aliasing and all that takes time and processing, enough resolution and colors to support
it, and so on. to deal with the full screen, it was expeditious to chuck that stuff and deal
with the rectilinear openly and even stylishly. given the constraints on the processing power,
such a style maximized visual energy and also related to painting and other arts in relevant,
contemporary ways.
and it also acknowledges the fundamentally rectilinear, pixelated nature of the monitor without
trying to turn it into a photographic display device, ie, the rectilinear style can acknowledge
and exploit the phenomenology of the pixel in ways that a photographic style must choke on or
not deal with, not exploit, possibly stumble on, be foreign in.
So one can see that there are good reasons why the history of computer art is populated with a
lot of strong work that is rectilinear in style.
That said, it's also true that, by now, given the processor, bandwidth, and other constraints
are much looser than they once were, the rectilinear style does not necessarily provide the
decisive advantages it once did concerning how to move the information quickly and with artful
energy. though it is always wise to observe the phenomenology of the medium.
By now, it is sometimes, as noted by others, a kind of brand rather than something that provides
an advantage in terms of function or form.
I have nothing against Cory or his work and wish him well, and the piece is not by any means a
calculation on his part in art styling, obviously.
I don't even care if people create brands of art and are able to market them successfully.
that's just the contemporary world being the contemporary world.
But I think we need to distinguish between branding and stylistic necessity that once, but no
more, necessarily, provided a decisive advantage in terms of form and function.
ja
> funny, but I always feel the euro vs the american inheritance.
> at the end it's comes down to personal taste and perhaps where-about we are.
> anyway,
> congra on the super project.
> doron
on further reflection, the rectilinear style isn't new york at all, or eastern europe; it was,
formerly, a way of taking advantage of the restrictions of--but also the nature of--computers.
anti-aliasing and all that takes time and processing, enough resolution and colors to support
it, and so on. to deal with the full screen, it was expeditious to chuck that stuff and deal
with the rectilinear openly and even stylishly. given the constraints on the processing power,
such a style maximized visual energy and also related to painting and other arts in relevant,
contemporary ways.
and it also acknowledges the fundamentally rectilinear, pixelated nature of the monitor without
trying to turn it into a photographic display device, ie, the rectilinear style can acknowledge
and exploit the phenomenology of the pixel in ways that a photographic style must choke on or
not deal with, not exploit, possibly stumble on, be foreign in.
So one can see that there are good reasons why the history of computer art is populated with a
lot of strong work that is rectilinear in style.
That said, it's also true that, by now, given the processor, bandwidth, and other constraints
are much looser than they once were, the rectilinear style does not necessarily provide the
decisive advantages it once did concerning how to move the information quickly and with artful
energy. though it is always wise to observe the phenomenology of the medium.
By now, it is sometimes, as noted by others, a kind of brand rather than something that provides
an advantage in terms of function or form.
I have nothing against Cory or his work and wish him well, and the piece is not by any means a
calculation on his part in art styling, obviously.
I don't even care if people create brands of art and are able to market them successfully.
that's just the contemporary world being the contemporary world.
But I think we need to distinguish between branding and stylistic necessity that once, but no
more, necessarily, provided a decisive advantage in terms of form and function.
ja
Re: Re: Paris Connection in relation to early net.art
I think we can expect full agreement from the group on this matter, Doron. Baa baa etc etc, to
paraphrase Ivan.
Check out, on the other hand, http://turbulence.org/curators/Paris/servovalveenglish.htm .
ja
> -----Original Message-----
> From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf Of
> doron golan
> Sent: Friday, February 21, 2003 10:37 AM
> To: list@rhizome.org
> Subject: RHIZOME_RAW: Re: Paris Connection in relation to early net.art
>
>
> I agree with alex on cory's work and with much of what has been said in this thread.
> one more work that I think is related to the discussion is alex work RSG-CPE0C-1 >
>
> http://rhizome.org/RSG/RSG-CPE0C-1/RSG-CPE0C-1/index.htm
>
> in my opinion ingenious and very much related to cory's.
>
> sincerely,
> doron golan
paraphrase Ivan.
Check out, on the other hand, http://turbulence.org/curators/Paris/servovalveenglish.htm .
ja
> -----Original Message-----
> From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf Of
> doron golan
> Sent: Friday, February 21, 2003 10:37 AM
> To: list@rhizome.org
> Subject: RHIZOME_RAW: Re: Paris Connection in relation to early net.art
>
>
> I agree with alex on cory's work and with much of what has been said in this thread.
> one more work that I think is related to the discussion is alex work RSG-CPE0C-1 >
>
> http://rhizome.org/RSG/RSG-CPE0C-1/RSG-CPE0C-1/index.htm
>
> in my opinion ingenious and very much related to cory's.
>
> sincerely,
> doron golan
Re: more on Cory Arcangel's "Data Diaries"
> Personally, I like Cory's work a lot more than all those parisians working
> their butts off with Director and collaborating with eachother.
Well, apparently you're not alone in this on rhizome, Ivan.
> I just think the flow of work gets more and more exciting, though no work
> stands alone or above the movement.
I *like* to encounter work that no one else could do and is challenging and beautiful along many
edges.
It's nice to be part of artistic 'communities', but once people begin to feel that "no work
stands alone or above the movement", there's a perpetuation of the status quo defined within the
'movement' that rules out real departure.
ja
> their butts off with Director and collaborating with eachother.
Well, apparently you're not alone in this on rhizome, Ivan.
> I just think the flow of work gets more and more exciting, though no work
> stands alone or above the movement.
I *like* to encounter work that no one else could do and is challenging and beautiful along many
edges.
It's nice to be part of artistic 'communities', but once people begin to feel that "no work
stands alone or above the movement", there's a perpetuation of the status quo defined within the
'movement' that rules out real departure.
ja
Re: Paris Connection in relation to early net.art
> I do think the paris connection is incredibly interesting and stimulating, but I admit I
> haven't spent enough time on all the artists as I rarely get past nicolas claus, as his work
> just intrigues and delights me on so many levels (funnily enough I passed the url of dark
> matter on to takeo the other day as something he could look at as an example of how
> video is being used in experimental and absorbing ways)
Yes. Dark Matter, a marvelous piece (http://www.flyingpuppet.com/shock/darkmatt.htm ), is a
collaboration with two of the other artists featured in Paris Connection: Jean-Jacques Birge,
who did the audio, and Frederic Durieu, who did some Lingo programming (they all use Director,
except Birge).
Some of Clauss+ I like in video is Before the Night
(http://www.flyingpuppet.com/shock/avant.htm ) and a recent piece called Scalpel at
http://www.flyingpuppet.com/shock/scalpel.htm . Nicolas has launched two new pieces in the last
couple of weeks, one of them being Scalpel.
Ana Maria Uribe, who did the Spanish translation of Paris Connection, tells me she saw
Clauss++'s work the other day on TV in Buenos Aires. Nicolas is a brilliant artist. He is also a
superb collaborator.
I find that the coherence of their work as a loosely-knit group is fascinating. All six are,
individually, doing excellent work, but taken as a group (most of them collaborate with one
another anyway), the beauty and poetry of the 'statement' is surpassingly beautiful, I find. The
one who collaborates most with the others in the group is Birge; he also is the only one who
does not create with Director; yet he is a full collaborator in the sense that he imagines and
creates with them from start to end not solely concerning audio but concerning interactivity,
visuals, etc. Birge also worked with me throughout the making of Paris Connection doing
corrections of the French translations; he is a writer as well as an audio guy.
Part of the beauty of what is unfolding in Paris is what they are doing together, and Paris
Connection tries to understand that, as well as treating their work individually.
> I am obviously biased towards turbulence.org as they gave me my own little soapbox
> through the artist studio which was a buzz (I'd had them bookmarked since discovering
> net.art) but yes, they are bringing many different approaches together and vitally, doing
> this without dictating a style or form of 'what is net.art' but just what feels like a real
> interest and pleasure in all the works...
Turbulence has been strong on synthesis and range from day one, as has rhizome. I first
encountered Helen Thorington's work in the 80's when I was working in radio. She was then
producing the New American Radio series that aired on NPR and occassionally elsewhere around the
globe. She was commissioning audio art/audio writing/radio art at that point (which was also
broad in synthesis) and sometimes edited critical writing about the art for EAR mag out of New
York. She commissioned many works by Gregory Whitehead, Susan Stone, Douglas Kahn, Jay Alison,
Matt Fair, Dan Lander, blackhumour, Jacki Apple and produced her own work, then as now...
ja
http://turbulence.org/curators/Paris
> haven't spent enough time on all the artists as I rarely get past nicolas claus, as his work
> just intrigues and delights me on so many levels (funnily enough I passed the url of dark
> matter on to takeo the other day as something he could look at as an example of how
> video is being used in experimental and absorbing ways)
Yes. Dark Matter, a marvelous piece (http://www.flyingpuppet.com/shock/darkmatt.htm ), is a
collaboration with two of the other artists featured in Paris Connection: Jean-Jacques Birge,
who did the audio, and Frederic Durieu, who did some Lingo programming (they all use Director,
except Birge).
Some of Clauss+ I like in video is Before the Night
(http://www.flyingpuppet.com/shock/avant.htm ) and a recent piece called Scalpel at
http://www.flyingpuppet.com/shock/scalpel.htm . Nicolas has launched two new pieces in the last
couple of weeks, one of them being Scalpel.
Ana Maria Uribe, who did the Spanish translation of Paris Connection, tells me she saw
Clauss++'s work the other day on TV in Buenos Aires. Nicolas is a brilliant artist. He is also a
superb collaborator.
I find that the coherence of their work as a loosely-knit group is fascinating. All six are,
individually, doing excellent work, but taken as a group (most of them collaborate with one
another anyway), the beauty and poetry of the 'statement' is surpassingly beautiful, I find. The
one who collaborates most with the others in the group is Birge; he also is the only one who
does not create with Director; yet he is a full collaborator in the sense that he imagines and
creates with them from start to end not solely concerning audio but concerning interactivity,
visuals, etc. Birge also worked with me throughout the making of Paris Connection doing
corrections of the French translations; he is a writer as well as an audio guy.
Part of the beauty of what is unfolding in Paris is what they are doing together, and Paris
Connection tries to understand that, as well as treating their work individually.
> I am obviously biased towards turbulence.org as they gave me my own little soapbox
> through the artist studio which was a buzz (I'd had them bookmarked since discovering
> net.art) but yes, they are bringing many different approaches together and vitally, doing
> this without dictating a style or form of 'what is net.art' but just what feels like a real
> interest and pleasure in all the works...
Turbulence has been strong on synthesis and range from day one, as has rhizome. I first
encountered Helen Thorington's work in the 80's when I was working in radio. She was then
producing the New American Radio series that aired on NPR and occassionally elsewhere around the
globe. She was commissioning audio art/audio writing/radio art at that point (which was also
broad in synthesis) and sometimes edited critical writing about the art for EAR mag out of New
York. She commissioned many works by Gregory Whitehead, Susan Stone, Douglas Kahn, Jay Alison,
Matt Fair, Dan Lander, blackhumour, Jacki Apple and produced her own work, then as now...
ja
http://turbulence.org/curators/Paris
Paris Connection in relation to early net.art
thanks, jess, for the link to takeo at http://www.takeo.org/nspace/ns00.htm , which you maintain
is highly related to and more notable than the arcangel work. i would agree with what you say
about takeo vs arcangel.
i recall a post from a while ago by curt cloninger in which he pointed out that early computer
art was more or less necessarily almost solely conceptual, given the technological constraints
upon it in terms of visuals, sound, and bandwidth. and he posed the question as to whether this
needed to continue as the predominant modus of net.art, given that though there are still
constraints on tech and bandwidth, both have advanced to a state where such an aesthetic is not
necessarily required.
also, i would point out that the rectilinear, often purposefully 'pixelated' style we associate
with the arcangel piece is very new york - eastern european early net.artish in its
associations. to me, it's less interesting as something to look as contemplate as a reiteration
of the style of early net.art. to me, the discussion about it and the galloway essay read like
ads for 'classic' net.art. want a piece to be championed by the early net.artists? do it in
their style. pay tribute. meet good guys.
the 'paris connection' project at http://turbulence.org/curators/Paris is an attempt to discuss
work that does not reiterate this style but, instead, has proceeded into a shift in net art that
i find appealing and relates to yours and curt's observations. it is not new york. it is paris.
the work is often wonderfully conceptual and philosophical, even minimal, as in the work of
Antoine Schmitt and servovalve, but it is also capable of what is to me a more fecund
exploration of video--in the work of clauss and birge, for instance--than the arcangel work. and
the explorations of audio, for instance, in the work of servovalve, lamarque, and birge combine
tech with the sensual and experiential.
something beautiful is unfolding in paris. though there are, among the six parisians, some top
art-programmers, birge, for instance, is not a programmer but is known for his work in
multimedia audio in france, is the king of multimedia audio there, and is a full collaborator
with the others. we see in this loosely-knit group a strong modus of collaboration between
programmers, audio guys, people involved in dance--and a range of other media and arts. we see a
tremendous synthesis of arts, media, and programming in their collaborative work together.
toward an art for the net that is as good as any art on the planet. and an art in which there is
no axe through the middle of the brain between experience and concept. it is rich in both.
paris connection is an attempt in english, french, spanish, and portuguese to tell the world
about their work, related work, and these larger contexts in which net.art is proceeding beyond
the solely conceptual cerebrations of early net.art. there is a strong tradition in french
culture toward synthesis of arts and media. here is a quote from guillaume apollinaire from
1917:
"These artifices can still go much further and achieve the synthesis of the arts, of music,
painting, and literature ... One should not be astonished if, with only the means they have now
at their disposal, they set themselves to preparing this new art (vaster than the plain art of
words) in which, like conductors of an orchestra of unbelievable scope they will have at their
disposal the entire world, its noises and its appearances, the thought and language of man,
song, dance, all the arts and all the artifices, still more mirages than Morgane could summon up
on the hill of Gibel, with which to compose the visible and unfolded book of the future.... "
"L'Esprit Nouveau et les Poetes" Apollinaire, 1917
interesting and encouraging that both the arcangel and paris connection are published on
turbulence. turbulence at turb. that's what we like to see. turbulence and synthesis. many
thanks to helen thorington and jo for publishing and encouraging both.
ja
is highly related to and more notable than the arcangel work. i would agree with what you say
about takeo vs arcangel.
i recall a post from a while ago by curt cloninger in which he pointed out that early computer
art was more or less necessarily almost solely conceptual, given the technological constraints
upon it in terms of visuals, sound, and bandwidth. and he posed the question as to whether this
needed to continue as the predominant modus of net.art, given that though there are still
constraints on tech and bandwidth, both have advanced to a state where such an aesthetic is not
necessarily required.
also, i would point out that the rectilinear, often purposefully 'pixelated' style we associate
with the arcangel piece is very new york - eastern european early net.artish in its
associations. to me, it's less interesting as something to look as contemplate as a reiteration
of the style of early net.art. to me, the discussion about it and the galloway essay read like
ads for 'classic' net.art. want a piece to be championed by the early net.artists? do it in
their style. pay tribute. meet good guys.
the 'paris connection' project at http://turbulence.org/curators/Paris is an attempt to discuss
work that does not reiterate this style but, instead, has proceeded into a shift in net art that
i find appealing and relates to yours and curt's observations. it is not new york. it is paris.
the work is often wonderfully conceptual and philosophical, even minimal, as in the work of
Antoine Schmitt and servovalve, but it is also capable of what is to me a more fecund
exploration of video--in the work of clauss and birge, for instance--than the arcangel work. and
the explorations of audio, for instance, in the work of servovalve, lamarque, and birge combine
tech with the sensual and experiential.
something beautiful is unfolding in paris. though there are, among the six parisians, some top
art-programmers, birge, for instance, is not a programmer but is known for his work in
multimedia audio in france, is the king of multimedia audio there, and is a full collaborator
with the others. we see in this loosely-knit group a strong modus of collaboration between
programmers, audio guys, people involved in dance--and a range of other media and arts. we see a
tremendous synthesis of arts, media, and programming in their collaborative work together.
toward an art for the net that is as good as any art on the planet. and an art in which there is
no axe through the middle of the brain between experience and concept. it is rich in both.
paris connection is an attempt in english, french, spanish, and portuguese to tell the world
about their work, related work, and these larger contexts in which net.art is proceeding beyond
the solely conceptual cerebrations of early net.art. there is a strong tradition in french
culture toward synthesis of arts and media. here is a quote from guillaume apollinaire from
1917:
"These artifices can still go much further and achieve the synthesis of the arts, of music,
painting, and literature ... One should not be astonished if, with only the means they have now
at their disposal, they set themselves to preparing this new art (vaster than the plain art of
words) in which, like conductors of an orchestra of unbelievable scope they will have at their
disposal the entire world, its noises and its appearances, the thought and language of man,
song, dance, all the arts and all the artifices, still more mirages than Morgane could summon up
on the hill of Gibel, with which to compose the visible and unfolded book of the future.... "
"L'Esprit Nouveau et les Poetes" Apollinaire, 1917
interesting and encouraging that both the arcangel and paris connection are published on
turbulence. turbulence at turb. that's what we like to see. turbulence and synthesis. many
thanks to helen thorington and jo for publishing and encouraging both.
ja