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: Quotation (was: why so little discussion?)
> A general question... It seems that 'quotation' lies
> at the heart of "postmodern" cultural production...
> That is, simulations, appropriations, and
> self-referential "deconstruction" have been cited as
> both harbingers and cornerstones of artistic "work" in
> the post-modern era--by Jameson, Baudrillard, and so
> many others...
>
> It's one thing to see how Warhol might appropriate an
> older image in a "newer" painting, but what of "net
> art"'s appropriation of earlier works, images,
> conversations, etc..? Does the medium make any
> difference? What of the difference between the veil of
> code and its appearance? What difference does the
> ability to forge a "real" link (vs a semi-anonymous
> reference) to an earlier work make? From
> historiographic perspective, where does the old end
> and the new (interpretation) begin?
>
> Sorry for all the quotations. It can, at times, be
> hard to keep a straight face using all these general
> terms. Plus, we are talking about """"quotation""""
> right?
>
> Marisa
hi Marisa,
re "the veil of code, its appearance" and """"quotation"""":
not long ago i was working on a piece in which the wreader may introduce
their own text. a collaborator pointed out that if she used quotation marks
in her text, the programming failed (because the programming was using
quotation marks to delimit texts). i fixed the bug so the piece could quote
the wreader and the wreader's quotations or quotations of quotations etc. it
felt like i was fixing more than a little bug, was expanding the piece
significantly.
ja
http://vispo.com
> at the heart of "postmodern" cultural production...
> That is, simulations, appropriations, and
> self-referential "deconstruction" have been cited as
> both harbingers and cornerstones of artistic "work" in
> the post-modern era--by Jameson, Baudrillard, and so
> many others...
>
> It's one thing to see how Warhol might appropriate an
> older image in a "newer" painting, but what of "net
> art"'s appropriation of earlier works, images,
> conversations, etc..? Does the medium make any
> difference? What of the difference between the veil of
> code and its appearance? What difference does the
> ability to forge a "real" link (vs a semi-anonymous
> reference) to an earlier work make? From
> historiographic perspective, where does the old end
> and the new (interpretation) begin?
>
> Sorry for all the quotations. It can, at times, be
> hard to keep a straight face using all these general
> terms. Plus, we are talking about """"quotation""""
> right?
>
> Marisa
hi Marisa,
re "the veil of code, its appearance" and """"quotation"""":
not long ago i was working on a piece in which the wreader may introduce
their own text. a collaborator pointed out that if she used quotation marks
in her text, the programming failed (because the programming was using
quotation marks to delimit texts). i fixed the bug so the piece could quote
the wreader and the wreader's quotations or quotations of quotations etc. it
felt like i was fixing more than a little bug, was expanding the piece
significantly.
ja
http://vispo.com
Re: "Abridged Too Far" by People Like Us
Nobody would ever write this sort of music:
http://mediamogul.seas.upenn.edu/pennsound/authors/People-Like-Us/Abriged-To
o-Far/People-Like-Us_Abridged-Too-Far_11-Cattle-Call.mp3
This is "Cattle Call" by People Like Us. It's too brilliantly off-key.
I love it.
When asked what sort of music he likes to listen to, the south african
novelist J.M Coetzee replied "music i haven't heard before."
I *have* heard a great deal of the material in "Abridged Too Far" by People
Like Us, but I haven't heard it composed with this sort of consciousness.
"Attention is the soul's prayer" said um maybe Paul Celan. The slide of the
two songs over one another in "Cattle Call" is brilliantly observed. Or
composed.
it's been said of stories that they should follow from their premises, but
usually the premises are too predictable.
when you listen to music, you may like to figure out where it's going the
moment before it arrives there. harmonizing or whatever. like a story, only
moment by moment rather than whodunit or whatever. if you do, then you'll
probably like Vicki Bennett's music. Because there's logic to how it
progresses, but it isn't so easily predictable. the musical premises are not
standard.
it's also been said of stories that a good place to start is with a
disruption of the routine.
typically, with music, even if we don't predict it initially, we get it on
the second play through. how many times do you think you'd have to hear
"Cattle Call" before you could really hear it in your head? It's just not
playing by the rules. Yet it sounds great.
As though we remember in 'vectors' rather than 'bitmaps'. A piece like
"Cattle Call" adds a few more nodes to the ole song memory data structures.
Yet draws on all sorts of oldies already jiving around in your head.
At the end of the song, we hear what i presume is Vicki Bennett pum-pumming
along on some strange tangent. Is that under it all, what she's making of
it? No, it's one of her takes on it. But it's a large combinatorium and she
seems to be saying that could be there too, 'Do or DIY', as in the title of
another of her pieces.
A generation should have music that is undiscovered and brilliant, not some
retro hangover from the last forty years, which is mostly what we get these
days in North America, or something so musically simple it's just for kids.
Here's work that is brilliant and undiscovered--and yet is made of music
from the 20's through the 90's.
The whole album is at http://www.ubu.com/sound/plu_abridged.html or, if
you're on a windows machine,
http://vispo.com/temp/People-Like-Us-Playlist.M3U lets you hear them in a
better way than the download/ wait for it cycle.
By the way, Canada's John Oswald (of Plunderphonics fame) was just given the
country's highest award in art.
ja
http://mediamogul.seas.upenn.edu/pennsound/authors/People-Like-Us/Abriged-To
o-Far/People-Like-Us_Abridged-Too-Far_11-Cattle-Call.mp3
This is "Cattle Call" by People Like Us. It's too brilliantly off-key.
I love it.
When asked what sort of music he likes to listen to, the south african
novelist J.M Coetzee replied "music i haven't heard before."
I *have* heard a great deal of the material in "Abridged Too Far" by People
Like Us, but I haven't heard it composed with this sort of consciousness.
"Attention is the soul's prayer" said um maybe Paul Celan. The slide of the
two songs over one another in "Cattle Call" is brilliantly observed. Or
composed.
it's been said of stories that they should follow from their premises, but
usually the premises are too predictable.
when you listen to music, you may like to figure out where it's going the
moment before it arrives there. harmonizing or whatever. like a story, only
moment by moment rather than whodunit or whatever. if you do, then you'll
probably like Vicki Bennett's music. Because there's logic to how it
progresses, but it isn't so easily predictable. the musical premises are not
standard.
it's also been said of stories that a good place to start is with a
disruption of the routine.
typically, with music, even if we don't predict it initially, we get it on
the second play through. how many times do you think you'd have to hear
"Cattle Call" before you could really hear it in your head? It's just not
playing by the rules. Yet it sounds great.
As though we remember in 'vectors' rather than 'bitmaps'. A piece like
"Cattle Call" adds a few more nodes to the ole song memory data structures.
Yet draws on all sorts of oldies already jiving around in your head.
At the end of the song, we hear what i presume is Vicki Bennett pum-pumming
along on some strange tangent. Is that under it all, what she's making of
it? No, it's one of her takes on it. But it's a large combinatorium and she
seems to be saying that could be there too, 'Do or DIY', as in the title of
another of her pieces.
A generation should have music that is undiscovered and brilliant, not some
retro hangover from the last forty years, which is mostly what we get these
days in North America, or something so musically simple it's just for kids.
Here's work that is brilliant and undiscovered--and yet is made of music
from the 20's through the 90's.
The whole album is at http://www.ubu.com/sound/plu_abridged.html or, if
you're on a windows machine,
http://vispo.com/temp/People-Like-Us-Playlist.M3U lets you hear them in a
better way than the download/ wait for it cycle.
By the way, Canada's John Oswald (of Plunderphonics fame) was just given the
country's highest award in art.
ja
On Lionel Kearns
Here's a new piece. It's called On Lionel Kearns at
http://turbulence.org/spotlight/kearns . Lionel's from Vancouver. He did
some work in the sixties-through-eighties that's brilliantly relevant to
contemporary digital poetics in books such as By the Light of the Silvery
McLune: Media Parables, Gestures, Signs, Poems, and Other Assaults on the
Interface (1969, Talonbooks, Vancouver). He also did some animated video
poems in the seventies that are part of On Lionel Kearns.
On Lionel Kearns is a binary meditation on some of his work--the stuff
that's relevant to contemporary digital poetics. It's a kind of a fucked-up
hypertext. Lots of interactive visual poetry in it, and one of the videos
(the second) is interactive also. Trying to take the literary hypertext in
different directions.
I came across Lionel's work last year. And met him for the first time last
week when I presented the piece at Western Front over in Vancouver. There
probably aren't any poets from around here except Kearns and bp Nichol (it's
little known Nichol was from Vancouver--he and Kearns were friends) who were
thinking about poetics in the sort of polyartistic, electronically-mediated
way that Kearns was back in the mid sixties.
He was going back and forth between Vancouver and London in the sixties,
where he did a PhD in Linguistics and was involved in London with a lot of
the experimental poets. In Vancouver, he was involved with Tish (sort of
'shit' backwards), Vancouver writers such as George Bowering, Frank Davey,
Fred Wah, Gladys Hindmarch, Jamie Reid, and others. They were the first
'group' of serious writers to emerge from Vancouver, and they're all still
involved in writing. Most of them went on to teach in Vancouver and
elsewhere in Canada. There was a strong Olson/Black Mountain influence,
which is probably involved in the later history of the relations between
Vancouver's Kootenay School and lang po. Vancouver is "as good as anywhere
in the English language" concerning poetry, as Gerry Gilbert has pronounced,
and that has a lot to do with the life and work of the generation of poets
from Vancouver that Kearns and the Tishers are part of.
But Tish wasn't into visual poetry or video or other non-print-oriented
experiments. That was peculiar to Kearns and Nichol and a few others like
David UU.
I'm grateful for their work. On Lionel Kearns is a tribute to Lionel's work.
ja
http://turbulence.org/spotlight/kearns . Lionel's from Vancouver. He did
some work in the sixties-through-eighties that's brilliantly relevant to
contemporary digital poetics in books such as By the Light of the Silvery
McLune: Media Parables, Gestures, Signs, Poems, and Other Assaults on the
Interface (1969, Talonbooks, Vancouver). He also did some animated video
poems in the seventies that are part of On Lionel Kearns.
On Lionel Kearns is a binary meditation on some of his work--the stuff
that's relevant to contemporary digital poetics. It's a kind of a fucked-up
hypertext. Lots of interactive visual poetry in it, and one of the videos
(the second) is interactive also. Trying to take the literary hypertext in
different directions.
I came across Lionel's work last year. And met him for the first time last
week when I presented the piece at Western Front over in Vancouver. There
probably aren't any poets from around here except Kearns and bp Nichol (it's
little known Nichol was from Vancouver--he and Kearns were friends) who were
thinking about poetics in the sort of polyartistic, electronically-mediated
way that Kearns was back in the mid sixties.
He was going back and forth between Vancouver and London in the sixties,
where he did a PhD in Linguistics and was involved in London with a lot of
the experimental poets. In Vancouver, he was involved with Tish (sort of
'shit' backwards), Vancouver writers such as George Bowering, Frank Davey,
Fred Wah, Gladys Hindmarch, Jamie Reid, and others. They were the first
'group' of serious writers to emerge from Vancouver, and they're all still
involved in writing. Most of them went on to teach in Vancouver and
elsewhere in Canada. There was a strong Olson/Black Mountain influence,
which is probably involved in the later history of the relations between
Vancouver's Kootenay School and lang po. Vancouver is "as good as anywhere
in the English language" concerning poetry, as Gerry Gilbert has pronounced,
and that has a lot to do with the life and work of the generation of poets
from Vancouver that Kearns and the Tishers are part of.
But Tish wasn't into visual poetry or video or other non-print-oriented
experiments. That was peculiar to Kearns and Nichol and a few others like
David UU.
I'm grateful for their work. On Lionel Kearns is a tribute to Lionel's work.
ja
Re: SKYSCRAPER
another cool piece, trashconnection. building a connected net of art with
others is an important part of what net.art is about. this piece is doing
that and emblematic of that, also. well done.
ja
> ___ ___
> | | \_______________________________________/ | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> __/| | | | | | | | | | | | | | | | | | | | | | | | |\__
> __ __/ | | | | | | | | | | | | | | | | | | | | | | | | |
> | | \__ __
> |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | |\______/ _|
> \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | _/
> | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | |/
> |// | \|// | \|// | \|
> |/______|______|/______|______|/______|______|
> |/// | \|/// | \|/// | \|
> |// | \|// | \|// | \|
> |/~x~x~x~x~x~x~|/~x~x~x~x~x~x~|/~x~x~x~x~x~x~|
> | | | | | | | | | |
> | | | | | | | | | |
> | | | | | | | | | |
> | | | | | | | | | |
> | |lilibonbon | | |17.11.2004 | | |00:34:59 | |
> | |___________| | |___________| | |___________| |
> | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ |
> |---------------|---------------|---------------|
> |_ http://skyscraper.trashconnection.com _______|
others is an important part of what net.art is about. this piece is doing
that and emblematic of that, also. well done.
ja
> ___ ___
> | | \_______________________________________/ | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | | | | | | | | | | | | | | | | | | |
> __/| | | | | | | | | | | | | | | | | | | | | | | | |\__
> __ __/ | | | | | | | | | | | | | | | | | | | | | | | | |
> | | \__ __
> |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | |\______/ _|
> \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | | _/
> | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
> | | | | | | |/
> |// | \|// | \|// | \|
> |/______|______|/______|______|/______|______|
> |/// | \|/// | \|/// | \|
> |// | \|// | \|// | \|
> |/~x~x~x~x~x~x~|/~x~x~x~x~x~x~|/~x~x~x~x~x~x~|
> | | | | | | | | | |
> | | | | | | | | | |
> | | | | | | | | | |
> | | | | | | | | | |
> | |lilibonbon | | |17.11.2004 | | |00:34:59 | |
> | |___________| | |___________| | |___________| |
> | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ |
> |---------------|---------------|---------------|
> |_ http://skyscraper.trashconnection.com _______|
Re: Re: why so little discussion?
I've really enjoyed the work you posted to Rhizome, Manik. Please post more.
It's great stuff.
ja
It's great stuff.
ja