ARTBASE (1)
PORTFOLIO (1)
BIO
The McElroys are a husband and wife collaborative artist, technology, and business team who bring significant artistic, technology and community development skills to Corporate Performance Artists. Joseph, is a graduate of Computer Science from Duke University and a former team leader at IBM. He has been a CEO of several companies, and has been responsible for raising $2 million to fund a startup company called EveryDayPrint.com, which while part of the dot-com boom and bust, he managed to bring to profitability and which still survives to this day.
Donna was an operations manager and PR specialist in the firms they have started together. She has recently been credited by several business leaders in the Bronx as being "top spokesperson for the Bronx." She is active in many community development projects, such as participating on the Board of the Bruckner Arts and Antique District, and working to promote many Bronx activities through an online newsletter called Cupcake Kaleidoscope.
Joseph was the leader of the Open Source Sig for the New York Software Industry Association. And was track co-chair for Open Source at the 2001 New York Software Industry Summit. He was on the advisory board for PostgreSql, Inc - the leading Open Source Database and has had articles published by Lutris Technologies and Open Magazine on Open Source business models and technology solutions. He is a database expert with extensive Fortune 500 experience. Among other awards, he won an IBM Division Award for Technical Excellence.
From magazine "Open" issue September 2001 - "The McElroys kick open the doors of old business models and capitalize on what they believe." The McElroys have achieved re-known as Open Source visionaries with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine, and others. Joseph and Donna make no claims of divine insight, but in review by Lewis Lacock, it is said, "that this dynamic duo of art are the closest things we have to true shamans today". They are doing their best to pursue the knowledge to support such claims someday.
HIGHLIGHTS
* Achieved reputation as Open Source visionarys with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine among others.
* National Columnist on Money Matters for Gather.com.
* Judge for the Advanced Technical Categories of the Emmys.
* Successfully raised $2 million funding for startup.
* Successfully built and sold two technology businesses.
* First Entry into the Multimedia wing of the Museum of Computer Art.
* Artwork collected by the Library at Cornell University.
* Artwork in the collection of Rhizome.org.
* Developed first ever Exhibition Catalog completely on CD Rom. Done for Alternative Museum. Reviewed by New York Times.
* Selected to attend first ever Summer Institute for Performance Art at The Kitchen in NYC.
* IBM Division Award for Technical Excellence.
* Various academic, mathematic and scholarship awards. Attended Duke University on a full scholarship in mathematics.
* Poetry published in various journals. Art exhibited in museum shows.
* Certificate of Artistic Excellence from Congressman Jose Serrano.
* Recognized by Bronx Borough President Aldofo Carrion for contributions to the community.
Donna was an operations manager and PR specialist in the firms they have started together. She has recently been credited by several business leaders in the Bronx as being "top spokesperson for the Bronx." She is active in many community development projects, such as participating on the Board of the Bruckner Arts and Antique District, and working to promote many Bronx activities through an online newsletter called Cupcake Kaleidoscope.
Joseph was the leader of the Open Source Sig for the New York Software Industry Association. And was track co-chair for Open Source at the 2001 New York Software Industry Summit. He was on the advisory board for PostgreSql, Inc - the leading Open Source Database and has had articles published by Lutris Technologies and Open Magazine on Open Source business models and technology solutions. He is a database expert with extensive Fortune 500 experience. Among other awards, he won an IBM Division Award for Technical Excellence.
From magazine "Open" issue September 2001 - "The McElroys kick open the doors of old business models and capitalize on what they believe." The McElroys have achieved re-known as Open Source visionaries with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine, and others. Joseph and Donna make no claims of divine insight, but in review by Lewis Lacock, it is said, "that this dynamic duo of art are the closest things we have to true shamans today". They are doing their best to pursue the knowledge to support such claims someday.
HIGHLIGHTS
* Achieved reputation as Open Source visionarys with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine among others.
* National Columnist on Money Matters for Gather.com.
* Judge for the Advanced Technical Categories of the Emmys.
* Successfully raised $2 million funding for startup.
* Successfully built and sold two technology businesses.
* First Entry into the Multimedia wing of the Museum of Computer Art.
* Artwork collected by the Library at Cornell University.
* Artwork in the collection of Rhizome.org.
* Developed first ever Exhibition Catalog completely on CD Rom. Done for Alternative Museum. Reviewed by New York Times.
* Selected to attend first ever Summer Institute for Performance Art at The Kitchen in NYC.
* IBM Division Award for Technical Excellence.
* Various academic, mathematic and scholarship awards. Attended Duke University on a full scholarship in mathematics.
* Poetry published in various journals. Art exhibited in museum shows.
* Certificate of Artistic Excellence from Congressman Jose Serrano.
* Recognized by Bronx Borough President Aldofo Carrion for contributions to the community.
Re: Oregon Terrorists
Yo. Read again. Terrorism is defined as part of a new act. An existing law on the books is modified to add terrorism to a list of crimes that are applicable under Section 19, chapter 666[funny] Oregon Laws 2001. They are not defining terrorism as all these crimes on the list.
joseph
Eryk Salvaggio wrote:
>
> Sorry, I posted this in reply to Lewis, but it's a new thread.
>
> If this is real, then any crime committed in the state of Oregon is
> likely
> to be considered an act of terrorism. You can read the exact wording
> of the
> bill here:
>
> http://pub.das.state.or.us/LEG_BILLS/PDFs/SB742.pdf
>
> In the list of crimes considered terrorist acts includes downloading
> mp3s,
> mislabeling mp3s on kazaa [ie, "this sounds like Billy Joel, so I'll
> just
> label it Billy Joel" is an act of terrorism]. Prostitution is also an
> act of
> terrorism, so is selling Basil to someone and telling them it is
> Marijuana.
>
> Ridiculous if true.
>
> -e.
>
>
joseph
Eryk Salvaggio wrote:
>
> Sorry, I posted this in reply to Lewis, but it's a new thread.
>
> If this is real, then any crime committed in the state of Oregon is
> likely
> to be considered an act of terrorism. You can read the exact wording
> of the
> bill here:
>
> http://pub.das.state.or.us/LEG_BILLS/PDFs/SB742.pdf
>
> In the list of crimes considered terrorist acts includes downloading
> mp3s,
> mislabeling mp3s on kazaa [ie, "this sounds like Billy Joel, so I'll
> just
> label it Billy Joel" is an act of terrorism]. Prostitution is also an
> act of
> terrorism, so is selling Basil to someone and telling them it is
> Marijuana.
>
> Ridiculous if true.
>
> -e.
>
>
Re: Re: new release
I notice you are quick to promote yourself and your agenda with a site depicting violence and victims of violence. Ethics is a slippery slope up your way.
joseph
Eryk Salvaggio wrote:
>
> Anyone interested in the 6 Rules For Internet Art should look at this
> Flash
> piece and ask themselves why the orange line is following thier mouse.
>
> -e.
>
>
>
>
>
> ----- Original Message -----
> From: "sachiko hayashi" <e-garde@e-garde.com>
> To: <list@rhizome.org>
> Sent: Tuesday, May 20, 2003 8:24 AM
> Subject: RHIZOME_RAW: new release
>
>
> > NEW RELEASE:
> >
> > LAST MEAL REQUESTED
> >
> > http://www.e-garde.com/lmr
> >
> > net art, 2003, flash player required
> >
> > Last Meal Requested investigates our human history through three
> incidents
> of the last 15 years - the Halabja massacre of 1988, the beating-up of
> Rodney King in 1992, and the public execution of a woman in
> Taliban-Afghanistan in 2001. The images from these three incidents
> are put
> under the light of historical context, thus juxtaposing our present
> with our
> past. At the same time the voices taken from various documentaries
> intermingle with them, offering personal perspectives on those social
> conditions. By so doing, Last Meal Requested plays with two poles on
> two
> different levels - the past/ the present, the society/ the
> individual.
> >
> > My interest in creating Last Meal Requested has been to address our
> human
> behaviours within the context of complexities formed by our history
> and
> society: how our past affects our present, finds its way into the
> individual
> minds that together form society, which eventually succeeds in the
> fatal
> destruction of individual human beings.
> >
> > The title is a citation taken from "Made in the USA", a documentary
> film
> by Solveig Anspach and Cindy Babski about an Afro-American by the name
> of
> Odell Barnes, who was wrongfully executed in Texas 2000. The last
> meal he
> requested was "Justice, Equality and World Peace."
> >
> >
> > Sachiko Hayashi
> >
> > Sachiko Hayashi is a video and net artist.
> >
> > Besides Sweden, her video works have shown at Not Still Art Festival
> in
> New York (2002), European Media Art Festival in Osnabruck, Germany
> (2002),
> Transmediale in Berlin (2003), and will be shown at Boston CyberArt
> (2003)
> and Radiator - New Media Art Festival in Nottingham, UK (2003).
> >
> > Her net art "trapped" (http://www.e-garde.com/trapped) has been
> archived
> as an art object in Rhizome, New York (2001), and has been shown at
> various
> festivals in Europe (European Media Art Festival in Osnabruck, Germany
> (2002), Media Art Festival Friesland in the Netherlands, (2002) and
> Split
> Film Festival in Coratia (2002)) and was part of a national tour in
> Israel,
> which included such venues as Janco Dada Museum (2001-2002). It is
> currently
> on display as a link from Rhizome, New York, Neural.it, Italy,
> docOnline,
> Amsterdam as well as from the Irish Museum of Modern Art. It is
> scheduled
> to be shown at Idelogia II (http://www.ideologia.net), Gothenburg,
> Sweden,
> in May/June, 2003.
> >
> > Her CD-Rom project (the Norns, earlier titled Dream Weaver) has been
> shown
> at Electrohype, Malmoe, Sweden (2000) and at Stuttgart FilmWinter,
> Stuttgart, Germany (2002) where its presentation was held.
> >
> > Her computer prints shown in Rome and Stockholm 2000, and at Saitama
> Museum of Modern Art, Saitama, Japan 2002. Also participation in
> "Reaction"
> by ExitArt in New York 2002. "Reaction" travelled to the Alyce de
> Roulet
> Williamson Gallery at Art Center College of Design in Pasadena,
> California,
> 2002, and became part of the permanent collection of the Congress of
> the
> United States of America, Washington DC, 2002.
> >
> > She is an "artist in residence" in April 2003 at the Experimental
> Television Center in New York. The Experimental Television Center has
> harboured such video artists as Nam June Paik and Gary Hill.
> >
> > Founder of internet network DIAN (active through 2001). Also
> founder and
> curator of newly founded virtual net gallery Hz Net Gallery of
> Fylkingen
> (http://www.hz-journal.org/netg).
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> 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
> >
>
joseph
Eryk Salvaggio wrote:
>
> Anyone interested in the 6 Rules For Internet Art should look at this
> Flash
> piece and ask themselves why the orange line is following thier mouse.
>
> -e.
>
>
>
>
>
> ----- Original Message -----
> From: "sachiko hayashi" <e-garde@e-garde.com>
> To: <list@rhizome.org>
> Sent: Tuesday, May 20, 2003 8:24 AM
> Subject: RHIZOME_RAW: new release
>
>
> > NEW RELEASE:
> >
> > LAST MEAL REQUESTED
> >
> > http://www.e-garde.com/lmr
> >
> > net art, 2003, flash player required
> >
> > Last Meal Requested investigates our human history through three
> incidents
> of the last 15 years - the Halabja massacre of 1988, the beating-up of
> Rodney King in 1992, and the public execution of a woman in
> Taliban-Afghanistan in 2001. The images from these three incidents
> are put
> under the light of historical context, thus juxtaposing our present
> with our
> past. At the same time the voices taken from various documentaries
> intermingle with them, offering personal perspectives on those social
> conditions. By so doing, Last Meal Requested plays with two poles on
> two
> different levels - the past/ the present, the society/ the
> individual.
> >
> > My interest in creating Last Meal Requested has been to address our
> human
> behaviours within the context of complexities formed by our history
> and
> society: how our past affects our present, finds its way into the
> individual
> minds that together form society, which eventually succeeds in the
> fatal
> destruction of individual human beings.
> >
> > The title is a citation taken from "Made in the USA", a documentary
> film
> by Solveig Anspach and Cindy Babski about an Afro-American by the name
> of
> Odell Barnes, who was wrongfully executed in Texas 2000. The last
> meal he
> requested was "Justice, Equality and World Peace."
> >
> >
> > Sachiko Hayashi
> >
> > Sachiko Hayashi is a video and net artist.
> >
> > Besides Sweden, her video works have shown at Not Still Art Festival
> in
> New York (2002), European Media Art Festival in Osnabruck, Germany
> (2002),
> Transmediale in Berlin (2003), and will be shown at Boston CyberArt
> (2003)
> and Radiator - New Media Art Festival in Nottingham, UK (2003).
> >
> > Her net art "trapped" (http://www.e-garde.com/trapped) has been
> archived
> as an art object in Rhizome, New York (2001), and has been shown at
> various
> festivals in Europe (European Media Art Festival in Osnabruck, Germany
> (2002), Media Art Festival Friesland in the Netherlands, (2002) and
> Split
> Film Festival in Coratia (2002)) and was part of a national tour in
> Israel,
> which included such venues as Janco Dada Museum (2001-2002). It is
> currently
> on display as a link from Rhizome, New York, Neural.it, Italy,
> docOnline,
> Amsterdam as well as from the Irish Museum of Modern Art. It is
> scheduled
> to be shown at Idelogia II (http://www.ideologia.net), Gothenburg,
> Sweden,
> in May/June, 2003.
> >
> > Her CD-Rom project (the Norns, earlier titled Dream Weaver) has been
> shown
> at Electrohype, Malmoe, Sweden (2000) and at Stuttgart FilmWinter,
> Stuttgart, Germany (2002) where its presentation was held.
> >
> > Her computer prints shown in Rome and Stockholm 2000, and at Saitama
> Museum of Modern Art, Saitama, Japan 2002. Also participation in
> "Reaction"
> by ExitArt in New York 2002. "Reaction" travelled to the Alyce de
> Roulet
> Williamson Gallery at Art Center College of Design in Pasadena,
> California,
> 2002, and became part of the permanent collection of the Congress of
> the
> United States of America, Washington DC, 2002.
> >
> > She is an "artist in residence" in April 2003 at the Experimental
> Television Center in New York. The Experimental Television Center has
> harboured such video artists as Nam June Paik and Gary Hill.
> >
> > Founder of internet network DIAN (active through 2001). Also
> founder and
> curator of newly founded virtual net gallery Hz Net Gallery of
> Fylkingen
> (http://www.hz-journal.org/netg).
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> 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
> >
>
Re: [thingist] Reality, Mediation, Net.Art
> but part of what I want to create in my work is the feeling I get from some
> pieces of art that open up a range of possibility by simply exposing the
> nature of our own internal mediations from reality.
According to your definition, feeling is secondary mediation.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Quoting Eryk Salvaggio <eryk@maine.rr.com>:
> ----- Original Message -----
> From: "Lewis LaCook" <llacook@yahoo.com>
>
> > --where are you finding an unmediated reality, eryk? even your opinions
> are a form of mediated reality---as are mine.....
>
>
>
> There is an unmediated reality which goes on exterior to any human
> involvement and which our internal thought-assesments have nothing to do
> with. Any period spent occupying a space without an awareness of the self is
> a step towards realizing it, although in general I think I am impressed when
> I can be within a situation on anything even resembling a pre-verbal level.
>
> If we relate to our own reaction to stimuli as if it was "reality" we are
> saying that the entire universe is dependant on what we "process" in it. By
> this logic, because I can't see you I could very well state that you don't
> exist. Of course, you do- or you don't- regardless of whether I *think* you
> do or don't, and how I *feel* about your existence [not to imply anything
> here :) ] is secondary mediation- you exist, whether I "like you" or not,
> and whether you are doing what I think you "should do" or not. You exist, I
> acknowledge you exist, and everything else is cherries.
>
> In a lot of how I have engaged with the world, I was operating on the idea
> that my analysis of reality was what needed to be "exhibited" or what
> "needed to come through" in my work. I have decided that it is a far better
> avenue for me to try to make work that cuts through any second hand
> interpretation of the world- and I consider emotional assesments to be
> "second hand." I have done this in a lot of my ascii based work, starting
> with the 9/11 piece- the 9/11 piece is essentially the first piece I made
> that dealt, on some level, with deconstructing "mediated" visions of reality
> [in this case, media, my own desire to connect to emotional events, and the
> connection of my internal events with external reality- and trying to sort
> all of that out] and it was designed to deliberately cut that frame of
> thinking down. I don't know if it is possible to succeed in this obviously-
> but part of what I want to create in my work is the feeling I get from some
> pieces of art that open up a range of possibility by simply exposing the
> nature of our own internal mediations from reality. Fluxus, Dada, Sufism,
> Zen, Haiku poets, Warhol, etc have been what have done it for me, have been
> responsible for insights that make me say "aha" as opposed to "I agree" or
> "I disagree" or whatever other reaction a person has. Of course a lot of the
> other works I have done are still exploring the idea of what is and what is
> not mediation, in particular the ascii nudes. I don't know if this "comes
> through" in my work- probably not, I am still relatively new at all of this-
> but it is a contributing element.
>
> Something that really captures the disappointment I feel within net.art is
> the closing of possibility, and this I feel is part of what Marc was writing
> about when he criticizes the declaration of a "heroic" period of net.art,
> and what people seem to talk about when they complain about the structuring
> and institutionalization of any type of art. I mean all in all, we had a
> "new media," something that could have been used to open up possibilities
> for quite some time, but then you have it start to get smaller and smaller
> and more into emulation instead of genesis. To me, 97 is to net.art was 77
> is to most punks- precisely, with all the "positive" and "negative" baggage.
> The fact that the window opened up for a while and then closed again is just
> the way it goes- something can only be new for so long, can only open up so
> many new avenues, before people start coming in and running emulation
> routines and the original potential is not so *easy* to hop in with. Net.Art
> was an easy art form to invent. It was probably the easiest "movement" there
> ever was. And the museums/gallerists/flood of critics- who are the first
> spoilers [in the sense of "giving away the ending"], the folks who come in,
> see a possibility and interpret it, and make these standards for what it
> should be- they're the ones responsible for establishing a "mediation" of
> the original concepts. However, a very important element of this, is that
> it's the fault of artists if they choose to look at those mediated opinions
> of what "is" instead of creating something on thier own, and many people do
> this unintentionally simply because they love the ideas but can't come up
> with something that new on thier own. I consider myself in that category-
> you can call me an evolutionist rather than a creationist, and I think this
> is unfortunate for me obviously- "I may not be remembered by history as a
> net.art pioneer, boo hoo." And this is true regardless of how long I have
> been making this stuff. The window for total e-z-bake revolution has closed,
> though I don't think that means the death of net.art, it's just a lot harder
> for me to make something "amazing."
>
> Obviously "opinions" are a mediated reality, which is why I recently
> apologized to the list for having them and then denounced my right to have
> them. Opinions are not a "right" really so much as a dangerous addiction, of
> course people will always have them, I will always have them, but I need to
> keep a more careful eye on my constant tendency towards analysis and
> evaluation, no different from anyone else you might say.
>
> Or not.
>
> Cheers,
> -e.
>
>
>
>
>
>
>
> --------------------------------------------------------------------
> t h i n g i s t
> message by "Eryk Salvaggio" <eryk@maine.rr.com>
> archive at http://bbs.thing.net
> info: send email to majordomo@bbs.thing.net
> and write "info thingist" in the message body
> --------------------------------------------------------------------
> pieces of art that open up a range of possibility by simply exposing the
> nature of our own internal mediations from reality.
According to your definition, feeling is secondary mediation.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Quoting Eryk Salvaggio <eryk@maine.rr.com>:
> ----- Original Message -----
> From: "Lewis LaCook" <llacook@yahoo.com>
>
> > --where are you finding an unmediated reality, eryk? even your opinions
> are a form of mediated reality---as are mine.....
>
>
>
> There is an unmediated reality which goes on exterior to any human
> involvement and which our internal thought-assesments have nothing to do
> with. Any period spent occupying a space without an awareness of the self is
> a step towards realizing it, although in general I think I am impressed when
> I can be within a situation on anything even resembling a pre-verbal level.
>
> If we relate to our own reaction to stimuli as if it was "reality" we are
> saying that the entire universe is dependant on what we "process" in it. By
> this logic, because I can't see you I could very well state that you don't
> exist. Of course, you do- or you don't- regardless of whether I *think* you
> do or don't, and how I *feel* about your existence [not to imply anything
> here :) ] is secondary mediation- you exist, whether I "like you" or not,
> and whether you are doing what I think you "should do" or not. You exist, I
> acknowledge you exist, and everything else is cherries.
>
> In a lot of how I have engaged with the world, I was operating on the idea
> that my analysis of reality was what needed to be "exhibited" or what
> "needed to come through" in my work. I have decided that it is a far better
> avenue for me to try to make work that cuts through any second hand
> interpretation of the world- and I consider emotional assesments to be
> "second hand." I have done this in a lot of my ascii based work, starting
> with the 9/11 piece- the 9/11 piece is essentially the first piece I made
> that dealt, on some level, with deconstructing "mediated" visions of reality
> [in this case, media, my own desire to connect to emotional events, and the
> connection of my internal events with external reality- and trying to sort
> all of that out] and it was designed to deliberately cut that frame of
> thinking down. I don't know if it is possible to succeed in this obviously-
> but part of what I want to create in my work is the feeling I get from some
> pieces of art that open up a range of possibility by simply exposing the
> nature of our own internal mediations from reality. Fluxus, Dada, Sufism,
> Zen, Haiku poets, Warhol, etc have been what have done it for me, have been
> responsible for insights that make me say "aha" as opposed to "I agree" or
> "I disagree" or whatever other reaction a person has. Of course a lot of the
> other works I have done are still exploring the idea of what is and what is
> not mediation, in particular the ascii nudes. I don't know if this "comes
> through" in my work- probably not, I am still relatively new at all of this-
> but it is a contributing element.
>
> Something that really captures the disappointment I feel within net.art is
> the closing of possibility, and this I feel is part of what Marc was writing
> about when he criticizes the declaration of a "heroic" period of net.art,
> and what people seem to talk about when they complain about the structuring
> and institutionalization of any type of art. I mean all in all, we had a
> "new media," something that could have been used to open up possibilities
> for quite some time, but then you have it start to get smaller and smaller
> and more into emulation instead of genesis. To me, 97 is to net.art was 77
> is to most punks- precisely, with all the "positive" and "negative" baggage.
> The fact that the window opened up for a while and then closed again is just
> the way it goes- something can only be new for so long, can only open up so
> many new avenues, before people start coming in and running emulation
> routines and the original potential is not so *easy* to hop in with. Net.Art
> was an easy art form to invent. It was probably the easiest "movement" there
> ever was. And the museums/gallerists/flood of critics- who are the first
> spoilers [in the sense of "giving away the ending"], the folks who come in,
> see a possibility and interpret it, and make these standards for what it
> should be- they're the ones responsible for establishing a "mediation" of
> the original concepts. However, a very important element of this, is that
> it's the fault of artists if they choose to look at those mediated opinions
> of what "is" instead of creating something on thier own, and many people do
> this unintentionally simply because they love the ideas but can't come up
> with something that new on thier own. I consider myself in that category-
> you can call me an evolutionist rather than a creationist, and I think this
> is unfortunate for me obviously- "I may not be remembered by history as a
> net.art pioneer, boo hoo." And this is true regardless of how long I have
> been making this stuff. The window for total e-z-bake revolution has closed,
> though I don't think that means the death of net.art, it's just a lot harder
> for me to make something "amazing."
>
> Obviously "opinions" are a mediated reality, which is why I recently
> apologized to the list for having them and then denounced my right to have
> them. Opinions are not a "right" really so much as a dangerous addiction, of
> course people will always have them, I will always have them, but I need to
> keep a more careful eye on my constant tendency towards analysis and
> evaluation, no different from anyone else you might say.
>
> Or not.
>
> Cheers,
> -e.
>
>
>
>
>
>
>
> --------------------------------------------------------------------
> t h i n g i s t
> message by "Eryk Salvaggio" <eryk@maine.rr.com>
> archive at http://bbs.thing.net
> info: send email to majordomo@bbs.thing.net
> and write "info thingist" in the message body
> --------------------------------------------------------------------
Re: Obituary For An Artwork
I was wondering if I could do some voodoo and create a zombie?
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
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Quoting "t.whid" <twhid@mteww.com>:
> archive of this post:
> http://www.mteww.com/cgi/mtaa-rr.pl/twhid/obit\_onKupdate.html
>
> Obituary For An Artwork
>
> On December 10, 2002 an automated net artwork by MTAA and P.Erl (AKA
> Alex Galloway) entitled onKawaraUpdate ceased to live. The work,
> created as a splash page for Rhizome.org, was launched on April 27,
> 2001. During its brief life, the onKawaraUpdate spawned a new web page
> each day mimicking the aesthetic and process of conceptual artist On
> Kawara
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Quoting "t.whid" <twhid@mteww.com>:
> archive of this post:
> http://www.mteww.com/cgi/mtaa-rr.pl/twhid/obit\_onKupdate.html
>
> Obituary For An Artwork
>
> On December 10, 2002 an automated net artwork by MTAA and P.Erl (AKA
> Alex Galloway) entitled onKawaraUpdate ceased to live. The work,
> created as a splash page for Rhizome.org, was launched on April 27,
> 2001. During its brief life, the onKawaraUpdate spawned a new web page
> each day mimicking the aesthetic and process of conceptual artist On
> Kawara
Re: If We All Just Talk About How We Feel We'll All Feel The Same Way
> What a pity.
No. I am showing mercy to you by treating you like someone to be respected.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Quoting Eryk Salvaggio <eryk@maine.rr.com>:
>
> ----- Original Message -----
> From: "joseph (yes=no & yes<>no) " <joseph@electrichands.com>
>
>
> > Actually, you have the right to an opinion,
>
> No I don't. But thanks for trying to convince me of your world view.
>
>
>
> > just not the right to suppress
> > every other one with tactics that include drumming up political support
> with
> > derision.
>
> Oh, have you been saying that because you think that's what I was doing?
>
>
>
> > Your theoretical framework for reality is not to everyones liking,
>
> What a pity.
>
>
> -e.
No. I am showing mercy to you by treating you like someone to be respected.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Quoting Eryk Salvaggio <eryk@maine.rr.com>:
>
> ----- Original Message -----
> From: "joseph (yes=no & yes<>no) " <joseph@electrichands.com>
>
>
> > Actually, you have the right to an opinion,
>
> No I don't. But thanks for trying to convince me of your world view.
>
>
>
> > just not the right to suppress
> > every other one with tactics that include drumming up political support
> with
> > derision.
>
> Oh, have you been saying that because you think that's what I was doing?
>
>
>
> > Your theoretical framework for reality is not to everyones liking,
>
> What a pity.
>
>
> -e.