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.
where the money is and where the money isn't
very interesting flash site: http://buraks.com/swifty/
er, let's call it interesting conceptually.
the concept, in this case, being an examination of where the money is and where the money isn't.
the money's in the mojo.
but ya know it's hard to package mojo.
unpackaging it isn't so hard, it turns out.
ja
er, let's call it interesting conceptually.
the concept, in this case, being an examination of where the money is and where the money isn't.
the money's in the mojo.
but ya know it's hard to package mojo.
unpackaging it isn't so hard, it turns out.
ja
Re: conceptual art was: [best work with Flash?]
> With this in mind, I will state that to dismiss T.Whid's historical citation
> of conceptual art being tied to a specific time period in history seems
> unfair.
To clarify, I was reacting to Curt's earlier post about canon, not to T.Whid's post.
There are canon from Timbuktu to Yonkers, L.A., Paris, and Brazil.
Art is involved even beyond art. All the intersecting fields... wonderfully diverse, for the
most part, really. And that diversity is part of what makes canon far less powerful, less
centralized, less consented to.
Canon. Somewhat long and tedious subject, isn't it.
ja
> of conceptual art being tied to a specific time period in history seems
> unfair.
To clarify, I was reacting to Curt's earlier post about canon, not to T.Whid's post.
There are canon from Timbuktu to Yonkers, L.A., Paris, and Brazil.
Art is involved even beyond art. All the intersecting fields... wonderfully diverse, for the
most part, really. And that diversity is part of what makes canon far less powerful, less
centralized, less consented to.
Canon. Somewhat long and tedious subject, isn't it.
ja
Re: conceptual art was: [best work with Flash?]
> Your deployment of "art history" as if it consists of
> a series of irrefutable and objective facts simply
> will not do.
> Who decides what 'the canon' is? -"History is written
> by the victors"
> It might be the case that certain ways of thinking
> about art are currently hegemonic amongst curators,
> academics and buyers but that *proves* nothing.
> To prove something one at least has to make an
> argument rather than quoting holy scripture.
Yes! Well said.
the canon is in his head.
pop gun canon.
so much rhetoric, so little time.
o and then there was some art somewhere.
ja
> a series of irrefutable and objective facts simply
> will not do.
> Who decides what 'the canon' is? -"History is written
> by the victors"
> It might be the case that certain ways of thinking
> about art are currently hegemonic amongst curators,
> academics and buyers but that *proves* nothing.
> To prove something one at least has to make an
> argument rather than quoting holy scripture.
Yes! Well said.
the canon is in his head.
pop gun canon.
so much rhetoric, so little time.
o and then there was some art somewhere.
ja
Re: software art and flash art
> How far away am I from Flash/Shockwave work, in your opinion?
>
> -e.
The shortest distance between two points is usually a straight line, but I'm not sure I have one
to respond with. The space grows and shrinks depending on which direction one looks; the
distance changes.
I enjoyed your new pieces, Eryk. The 'pictures' are striking to view. I waded into the essay you
link to, but could not finish it. Went back to the pictures. It would be nice to have the text
for the picture in the neath text, maybe, a version that isn't marked up. Not having it there de
emphasizes the text, but maybe that's as you want it.
I like that the 'pictures' are zoom in to the point where one generally can't make out the big
picture and its relation to the 'essay' except it is 'made of' the essay.
How did you create the 'pictures'?
Do you know Ted Warnell's work at www.warnell.com ? A relation there, it seems. His 'material'
is largely HTML yet his background is that of a visual artist. He is well-known as a net.artist
and visual poet.
He and I have collaborated on several things over the years. He is not particularly fond of
Flash or Shockwave work either. But that seems to have (more or less) got sorted out over time.
There's the work and the distance (or lack thereof) between the works. Then there's the distance
between people. It seems like the latter is more determining of the distance between the works
than we care to admit.
ja
http://vispo.com
>
> -e.
The shortest distance between two points is usually a straight line, but I'm not sure I have one
to respond with. The space grows and shrinks depending on which direction one looks; the
distance changes.
I enjoyed your new pieces, Eryk. The 'pictures' are striking to view. I waded into the essay you
link to, but could not finish it. Went back to the pictures. It would be nice to have the text
for the picture in the neath text, maybe, a version that isn't marked up. Not having it there de
emphasizes the text, but maybe that's as you want it.
I like that the 'pictures' are zoom in to the point where one generally can't make out the big
picture and its relation to the 'essay' except it is 'made of' the essay.
How did you create the 'pictures'?
Do you know Ted Warnell's work at www.warnell.com ? A relation there, it seems. His 'material'
is largely HTML yet his background is that of a visual artist. He is well-known as a net.artist
and visual poet.
He and I have collaborated on several things over the years. He is not particularly fond of
Flash or Shockwave work either. But that seems to have (more or less) got sorted out over time.
There's the work and the distance (or lack thereof) between the works. Then there's the distance
between people. It seems like the latter is more determining of the distance between the works
than we care to admit.
ja
http://vispo.com
Re: best work with Flash? [ following curt ]
> flash does come standard with many browser distros.
>
> you only see an ad when you install it for the first time after that
> there is only macromedia's name in the contextual (right click) menu
> otherwise it's perfectly clean of any marketing messages.
>
> Director on the other hand.. does it still give you the logo during
> the loading bar?
By default, yes. You can axe it if you want. You can also get rid of the right-click menu and
open your own. You can also prevent the one time logo fest on installation, as I'm sure you can
in Flash also, by linking the person directly to the installation file for download rather than
linking them to the macromedia-mediated-through-the-web installation process.
I choose to link them to the direct file not only to avoid their logofest but because they are
asked to register and sometimes this rigamarole results in the installation failing. That's all
adding up to way too much.
So the answer, not surprisingly, is that if you allow the defaults to rule, they will jump all
over you. This is a good example of how defaults are inclined to allow the medium to be the
message.
ja
>
> you only see an ad when you install it for the first time after that
> there is only macromedia's name in the contextual (right click) menu
> otherwise it's perfectly clean of any marketing messages.
>
> Director on the other hand.. does it still give you the logo during
> the loading bar?
By default, yes. You can axe it if you want. You can also get rid of the right-click menu and
open your own. You can also prevent the one time logo fest on installation, as I'm sure you can
in Flash also, by linking the person directly to the installation file for download rather than
linking them to the macromedia-mediated-through-the-web installation process.
I choose to link them to the direct file not only to avoid their logofest but because they are
asked to register and sometimes this rigamarole results in the installation failing. That's all
adding up to way too much.
So the answer, not surprisingly, is that if you allow the defaults to rule, they will jump all
over you. This is a good example of how defaults are inclined to allow the medium to be the
message.
ja