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.
a bit 'a Agrippa
The Doctrines of Mathematicks are so necessary to, and have such an affinity
with Magick, that they that do profess it
without them, are quite out of the way, and labour in vain, and shall in no
wise obtain their desired effect. For whatsoever
things are, and are done in these inferior naturall vertues, are all done,
and governed by number, weight, measure, harmony,
motion, and light. And all things which we see in these inferiours, have
root, and foundation in them: yet nevertheless
without naturall vertues, of Mathematicall Doctrines only works like to
naturals can be produced, as Plato saith, a thing not
paataking of truth or divinity, but certain Images kin to them, as bodies
going, or speaking, which yet want the Animall
faculty, such as were those which amongst the Ancients were called Dedalus
his Images, and automata, of which Aristotle
makes mention, viz. the threefooted Images of Vulcan, and Dedalus, moving
themselves, which Homer saith came out of
their own accord to exercise, and which we read, moved themselves at the
feast of Hiarba the Philosophicall Exerciser: As
also that golden Statues performed the offices of Cup bearers, and Carvers
to the guests.
.
.
.
And we read in faithfull Historians, that in former times Rocks have been
cut off,
and Vallies [valleys] made, and Mountains made into a Plain, Rocks have been
digged through, Promontories have been
opened in the Sea, the bowels of the Earth made hollow, Rivers divided, Seas
joyned to Seas, the Seas restrained, the bottome
of the Sea been searched, Pools exhausted, Fens dryed up, new Islands made,
and again restored to the continent, all which,
file:///M|/ PDF-Bucher/Esoterik & Magie/HTML/Agrippa2/agrippa2.htm (4 von
18) [20.02.2001 16:11:47]
although they my seem to be against nature, yet we read have been done, and
we see some reliques of them remaining till this
day, which the vulgar say were the works of the divell [Devil], seeing the
Arts, and Artificers thereof have been dead out of
all memory, neither are there any that care to understand, or search into
them. Therefore they seeing any wonderfull sight, do
impute it to the divell, as his work, or think it is a miracle, which indeed
is a work of naturall, or Mathematicall Philosophy.
As if anyone should be ignorant of the vertue of the Loadstone, and should
see heavy Iron drawn upwards, or hanged in the
Aire (as we read the Iron Image of Mercury did long since at Treveris hang
up in the middle of the Temple by Loadstones,
this verse attesting the same.
The Iron white rod-bearer flies i'th' Aire.
The like to which we read was done concerning the image of the Sun at Rome,
in the Temple of Serapis) would not such an
ignorant man, I say, presently say it is the work of the divell? But if he
shall know the vertue of the Loadstone to the Iron, and
shall make triall of it, he presently ceaseth to wonder, and doth no more
scruple it to be the work of nature. But here it is
convenient that you know, that as by naturall vertues we collect naturall
vertues, so by abstracted, mathematicall, and
celestiall, we receive celestiall vertues, as motion, life, sense, speech,
southsaying [soothsaying], and divination, even in
matter less disposed, as that which is not made by nature, but only by art.
And so images that speak, and foretell things to
come, are said to be made, as William of Paris relates of a brazen head made
under the rising of Saturn, which they say spake
with a mans voice. But he that will choose a disposed matter, and most fit
to receive, and a most powerfull agent, shall
undoubtedly produce more powerfull effects. For it is a generall opinion of
the Pythagoreans, that as Mathematicall things are
more formall then Naturall, so also they are more efficacious: as they have
less dependence in their being, so also in their
operation. But amongst all Mathematicall things, numbers, as they have more
of form in them, so also are more efficacious,
to which not only Heathen Philosophers, but also Hebrew, and Christian
Divines do attribute vertue, and efficacy, as well to
effect what is good, as what is bad.
Heinrich Cornelius Agrippa: Occult Philosophy. Book II. (part 1)
with Magick, that they that do profess it
without them, are quite out of the way, and labour in vain, and shall in no
wise obtain their desired effect. For whatsoever
things are, and are done in these inferior naturall vertues, are all done,
and governed by number, weight, measure, harmony,
motion, and light. And all things which we see in these inferiours, have
root, and foundation in them: yet nevertheless
without naturall vertues, of Mathematicall Doctrines only works like to
naturals can be produced, as Plato saith, a thing not
paataking of truth or divinity, but certain Images kin to them, as bodies
going, or speaking, which yet want the Animall
faculty, such as were those which amongst the Ancients were called Dedalus
his Images, and automata, of which Aristotle
makes mention, viz. the threefooted Images of Vulcan, and Dedalus, moving
themselves, which Homer saith came out of
their own accord to exercise, and which we read, moved themselves at the
feast of Hiarba the Philosophicall Exerciser: As
also that golden Statues performed the offices of Cup bearers, and Carvers
to the guests.
.
.
.
And we read in faithfull Historians, that in former times Rocks have been
cut off,
and Vallies [valleys] made, and Mountains made into a Plain, Rocks have been
digged through, Promontories have been
opened in the Sea, the bowels of the Earth made hollow, Rivers divided, Seas
joyned to Seas, the Seas restrained, the bottome
of the Sea been searched, Pools exhausted, Fens dryed up, new Islands made,
and again restored to the continent, all which,
file:///M|/ PDF-Bucher/Esoterik & Magie/HTML/Agrippa2/agrippa2.htm (4 von
18) [20.02.2001 16:11:47]
although they my seem to be against nature, yet we read have been done, and
we see some reliques of them remaining till this
day, which the vulgar say were the works of the divell [Devil], seeing the
Arts, and Artificers thereof have been dead out of
all memory, neither are there any that care to understand, or search into
them. Therefore they seeing any wonderfull sight, do
impute it to the divell, as his work, or think it is a miracle, which indeed
is a work of naturall, or Mathematicall Philosophy.
As if anyone should be ignorant of the vertue of the Loadstone, and should
see heavy Iron drawn upwards, or hanged in the
Aire (as we read the Iron Image of Mercury did long since at Treveris hang
up in the middle of the Temple by Loadstones,
this verse attesting the same.
The Iron white rod-bearer flies i'th' Aire.
The like to which we read was done concerning the image of the Sun at Rome,
in the Temple of Serapis) would not such an
ignorant man, I say, presently say it is the work of the divell? But if he
shall know the vertue of the Loadstone to the Iron, and
shall make triall of it, he presently ceaseth to wonder, and doth no more
scruple it to be the work of nature. But here it is
convenient that you know, that as by naturall vertues we collect naturall
vertues, so by abstracted, mathematicall, and
celestiall, we receive celestiall vertues, as motion, life, sense, speech,
southsaying [soothsaying], and divination, even in
matter less disposed, as that which is not made by nature, but only by art.
And so images that speak, and foretell things to
come, are said to be made, as William of Paris relates of a brazen head made
under the rising of Saturn, which they say spake
with a mans voice. But he that will choose a disposed matter, and most fit
to receive, and a most powerfull agent, shall
undoubtedly produce more powerfull effects. For it is a generall opinion of
the Pythagoreans, that as Mathematicall things are
more formall then Naturall, so also they are more efficacious: as they have
less dependence in their being, so also in their
operation. But amongst all Mathematicall things, numbers, as they have more
of form in them, so also are more efficacious,
to which not only Heathen Philosophers, but also Hebrew, and Christian
Divines do attribute vertue, and efficacy, as well to
effect what is good, as what is bad.
Heinrich Cornelius Agrippa: Occult Philosophy. Book II. (part 1)
party in my office Thursday evening
If you happen to be in Victoria Canada tomorrow (Thursday Jan 29/04), there
will be a party in my office (A146 of the Visual Arts building at the
University of Victoria) starting at 8 pm. This is the kickoff to the
Interactive Futures conference organized by Steve Gibson. There's info about
the whole conference at http://www.vifvf.com/new_media.html
The party will feature one of Julie Andreyev's vehicles in the middle of the
office. Julie (from Vancouver) has put together a small fleet of cars decked
to the nines with streaming video/audio and other goodies. Julie will be
talking about this project of hers between 8 and 9.
Then at 9 pm, Steve Gibson will be performing several musical pieces. Four
of the pieces also involve a thingy I've been working on for a couple of
months called the Blitbopper. The Blitbopper is a Director executable that
takes a MIDI feed from Steve's three keyboards and MIDI guitar, and responds
visually to the music. The visuals are comprised of bitmaps by Randy Adams
(of trAce), who has put together several hundred jpgs in response to
listening to recordings of the pieces Steve will play. The bitmaps are
composed as sequences, ie, kind of animations, kind of not animations. There
are about 32 sequences. The blitbopper executable lets Steve configure some
MIDI channels+notes as trigger notes, ie, trigger notes trigger a sequence
either as an animation or as a sequence that advances when Steve plays
subsequent (non-trigger) notes. The blitbopper lets Steve configure MIDI
controllers to trigger effects on the current image or sequence. Australia's
Luke Wigley (http://lingoworkshop.com ) is a silent collaborator in this
piece in that Luke has kindly agreed to let us use his 'imaging Lingo'
effects.
The idea of the blitbopper is to develop an appropriately configurable app
that responds visually to MIDI music, and lets people import their own
graphical material into the program. Currently it operates on bitmaps, but
future revs will allow import of videos, vectors (Flash and otherwise), and
what not. We also want to develop lots more effects modules (once I get the
hang of 'imaging Lingo'). The Blitbopper is the first of several programming
projects I'll be doing with Steve over the next four years, and this is
version 1.0 of the Blitbopper, so hopefully it won't crash!
There will be cheap booze and good food at the party.
Then at 10:15 we'll head to the Open Space gallery downtown to take in some
short films, one of which is by Christina McPhee:
NAXSMASH Christina McPhee 8 minutes
NAXSmash is a performative cinema and sound installation via a revival of
Fluxus/John Cage style, incorporating digital video projection, live
gesture and digitally-printed transparent scrims.
The other films are:
WORMS Lasse Raa 5 minute excerpt
Worms explores the concept of start / stop, no playlength. The methods used
forced the director with time in many ways at the same time.
DEATH OF THE MOTH Rian Brown-Orso 20 minutes
Directed by Rian Brown-Orso and Hege Royert. Music by Tom Lopez. Death of
the Moth was inspired by a short story by Virginia Woolf. It is based on the
symbol of the "moth", which not unlike Icarus is a frivolous creature that
is drawn towards the light, but will inevitably burns its wings and fall.
Death of the Moth is a visual and aural meditation on mankind's "falling
from grace" and his out-of-balance relationship with nature.
SOFT, SOFT, SOFT Javier Marchan 22 minutes
Soft,Soft, Soft is a new form of visual essaying on the material world of
things. It focuses on socially regulated aspects of distribution-trade as
central forms of connectedness between people. The work was produced in
participation with the Jan van Eyck Academie, the Netherlands, Goldsmiths
University, UK and IKEA.
Hope to see you there!
ja
http://vispo.com
will be a party in my office (A146 of the Visual Arts building at the
University of Victoria) starting at 8 pm. This is the kickoff to the
Interactive Futures conference organized by Steve Gibson. There's info about
the whole conference at http://www.vifvf.com/new_media.html
The party will feature one of Julie Andreyev's vehicles in the middle of the
office. Julie (from Vancouver) has put together a small fleet of cars decked
to the nines with streaming video/audio and other goodies. Julie will be
talking about this project of hers between 8 and 9.
Then at 9 pm, Steve Gibson will be performing several musical pieces. Four
of the pieces also involve a thingy I've been working on for a couple of
months called the Blitbopper. The Blitbopper is a Director executable that
takes a MIDI feed from Steve's three keyboards and MIDI guitar, and responds
visually to the music. The visuals are comprised of bitmaps by Randy Adams
(of trAce), who has put together several hundred jpgs in response to
listening to recordings of the pieces Steve will play. The bitmaps are
composed as sequences, ie, kind of animations, kind of not animations. There
are about 32 sequences. The blitbopper executable lets Steve configure some
MIDI channels+notes as trigger notes, ie, trigger notes trigger a sequence
either as an animation or as a sequence that advances when Steve plays
subsequent (non-trigger) notes. The blitbopper lets Steve configure MIDI
controllers to trigger effects on the current image or sequence. Australia's
Luke Wigley (http://lingoworkshop.com ) is a silent collaborator in this
piece in that Luke has kindly agreed to let us use his 'imaging Lingo'
effects.
The idea of the blitbopper is to develop an appropriately configurable app
that responds visually to MIDI music, and lets people import their own
graphical material into the program. Currently it operates on bitmaps, but
future revs will allow import of videos, vectors (Flash and otherwise), and
what not. We also want to develop lots more effects modules (once I get the
hang of 'imaging Lingo'). The Blitbopper is the first of several programming
projects I'll be doing with Steve over the next four years, and this is
version 1.0 of the Blitbopper, so hopefully it won't crash!
There will be cheap booze and good food at the party.
Then at 10:15 we'll head to the Open Space gallery downtown to take in some
short films, one of which is by Christina McPhee:
NAXSMASH Christina McPhee 8 minutes
NAXSmash is a performative cinema and sound installation via a revival of
Fluxus/John Cage style, incorporating digital video projection, live
gesture and digitally-printed transparent scrims.
The other films are:
WORMS Lasse Raa 5 minute excerpt
Worms explores the concept of start / stop, no playlength. The methods used
forced the director with time in many ways at the same time.
DEATH OF THE MOTH Rian Brown-Orso 20 minutes
Directed by Rian Brown-Orso and Hege Royert. Music by Tom Lopez. Death of
the Moth was inspired by a short story by Virginia Woolf. It is based on the
symbol of the "moth", which not unlike Icarus is a frivolous creature that
is drawn towards the light, but will inevitably burns its wings and fall.
Death of the Moth is a visual and aural meditation on mankind's "falling
from grace" and his out-of-balance relationship with nature.
SOFT, SOFT, SOFT Javier Marchan 22 minutes
Soft,Soft, Soft is a new form of visual essaying on the material world of
things. It focuses on socially regulated aspects of distribution-trade as
central forms of connectedness between people. The work was produced in
participation with the Jan van Eyck Academie, the Netherlands, Goldsmiths
University, UK and IKEA.
Hope to see you there!
ja
http://vispo.com
Re: Question for artists who seek commissions
> I am interested in finding out from artists who seek commissions...
>
> Do you prefer when there is a theme to the commissions or if the CFP (call
> for proposals) is completely open? I would assume the latter but want some
> feedback. Thanks, Rachel
if there is coincidence of interest and concern, that bodes well for
meaningful communication between artist and 'client'.
yet is 'artist-client' the relationship? yes and no. no, in the sense that
the 'client' does not specify anywhere near as definitively what they want
as a 'regular client' does. But, then, commissions are only, typically,
$2000-$5000. Even monetarily the specifiable is thereby narrowed: the less
the pay, the less you can specify.
it has been interesting to see rhizome specify constraints that place the
work within the rhizome interface as important parts of the interface.
interfaces into the artbase, for instance, was one of the foci, was it not?
chris fahey's piece was a delightful project that contributed to the
searchability and experience of the artbase.
i would say you got a deal if you got that for $5000.
there was coincidence of interest and concern between rhizome and chris
fahey.
building web applications like that can be very expensive in the
marketplace.
also, there is the question of whether getting web development on the cheap
by giving it exposure and platform in an art context is a worthwhile
prospect 'politically'.
some would say that if you really want art, don't make it serve the rhizome
interface.
fahey's project is a kind of counter-example which shows the potential value
of such a focus.
foci of functionality in the rhizome interface does encourage a kind of funk
that i like: it is a type of art that bears relation to google's projects.
in mathematics, number theory has been called 'the queen of mathematics'
presumably because it is beautiful and useless. of course it is useless no
more: big primes are in the realm of encryption and number theory.
so too art needn't be useless.
it needn't have a 'use' other than zephyr. and you bar the zephyr with spec.
or zephyrs incongruent in interest and concern.
so i think one must admit that foci of functionality in the rhizome
interface has yielded some memorable art as well as a more enjoyable
interface into the artbase, which the artists appreciate, but it is not a
type of project that i would want to embark on myself, my zephyrs
incongruent.
so perhaps my note is more a comment on the phenomenon of defining specs for
art comptetions that focus on functionality in the org web site.
are you thinking of specifying such constraints again or what? apologies if
i missed the announcement.
ja
http://vispo.com
>
> Do you prefer when there is a theme to the commissions or if the CFP (call
> for proposals) is completely open? I would assume the latter but want some
> feedback. Thanks, Rachel
if there is coincidence of interest and concern, that bodes well for
meaningful communication between artist and 'client'.
yet is 'artist-client' the relationship? yes and no. no, in the sense that
the 'client' does not specify anywhere near as definitively what they want
as a 'regular client' does. But, then, commissions are only, typically,
$2000-$5000. Even monetarily the specifiable is thereby narrowed: the less
the pay, the less you can specify.
it has been interesting to see rhizome specify constraints that place the
work within the rhizome interface as important parts of the interface.
interfaces into the artbase, for instance, was one of the foci, was it not?
chris fahey's piece was a delightful project that contributed to the
searchability and experience of the artbase.
i would say you got a deal if you got that for $5000.
there was coincidence of interest and concern between rhizome and chris
fahey.
building web applications like that can be very expensive in the
marketplace.
also, there is the question of whether getting web development on the cheap
by giving it exposure and platform in an art context is a worthwhile
prospect 'politically'.
some would say that if you really want art, don't make it serve the rhizome
interface.
fahey's project is a kind of counter-example which shows the potential value
of such a focus.
foci of functionality in the rhizome interface does encourage a kind of funk
that i like: it is a type of art that bears relation to google's projects.
in mathematics, number theory has been called 'the queen of mathematics'
presumably because it is beautiful and useless. of course it is useless no
more: big primes are in the realm of encryption and number theory.
so too art needn't be useless.
it needn't have a 'use' other than zephyr. and you bar the zephyr with spec.
or zephyrs incongruent in interest and concern.
so i think one must admit that foci of functionality in the rhizome
interface has yielded some memorable art as well as a more enjoyable
interface into the artbase, which the artists appreciate, but it is not a
type of project that i would want to embark on myself, my zephyrs
incongruent.
so perhaps my note is more a comment on the phenomenon of defining specs for
art comptetions that focus on functionality in the org web site.
are you thinking of specifying such constraints again or what? apologies if
i missed the announcement.
ja
http://vispo.com
http://netart.org.uy/
Can anyone tell me about http://netart.org.uy , please? This seems quite a
marvelous site I have never seen before.
ja
marvelous site I have never seen before.
ja