Lewis LaCook
Since 2001
Works in Lorain, Ohio United States of America

ARTBASE (6)
PORTFOLIO (7)
BIO
Lewis LaCook makes things. He is a programmer/poet. He likes unstable objects. He doesn't eat enough. Send him all your money.
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DISCUSSION

Alan Sondheim Web Mix


http://www.lewislacook.com/alanSondheim/

Flash 6

speakers on

A month or so ago Alan mentioned to me that he had once written a text editor that was designed to "frustrate" the writing of the user. This editor would transform the user's writing as the user enetered text. I thought it was an ingenious concept for a piece: a work that combined the networking possibilities of user input and transformation...a work that would literally change what the user invested in the object...So I set about making an approximation of what Alan was talking about.

This is the web mix of that idea. A full blown piece of software based on this concept is still in the works (I'm writing THAT one in C++), but this Flash version combines that concept with some multimedia ideas. To use it, simply enter text in the blue box. Every time you press enter, your text will change; sometimes it will be replaced by a line from some of Alan's writing, sometimes it will spatter your text in asemic strings across the box, sometimes your text will simply disappear, and sometimes a combination of these will happen. I doubt that this work is anywhere near as capable as Alan's original program, but it seems to me to be a worthy web amusement.

There are four different background music sequences, and these load when this page loads. Revisit to hear them all.

The film loop is Alan's: I altered it, but it can be found in its original form on Alan's Internet Text site (http://www.anu.edu.au/english/internet_txt/).

http://www.lewislacook.com/
net art review: http://www.netartreview.net/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
furtherfield: http://www.furtherfield.org/home.html

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DISCUSSION

from Dirty Milk


All music is a study of liquid. For those who wait
behind windows, watching the world catch green and
burst into cacophony, the study of music is also a
phenomenology of reflection; you enter the water by
peering into it, seeing your form slide across its
unceasing motion: this is how you photograph her,
peripherally. A fluid scholarship positions a cinch of
pain that fades over the margins of my voice. She
draws stars from my heart, sparks of droplets, rain
catching fire in this new refusal to fall blindly, to
bend around the parameters of her motion until the
room spins away. Where can a room such as this go on
similar mornings?

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http://www.lewislacook.com/
net art review: http://www.netartreview.net/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
furtherfield: http://www.furtherfield.org/home.html

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DISCUSSION

The Blogs of the Poets: Dirty Milk


The Blogs of the Poets

being a part of the hypermedia work, "Dirty Milk"

http://www.lewislacook.com/video/apr7_03.mpg

http://www.lewislacook.com/
net art review: http://www.netartreview.net/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
furtherfield: http://www.furtherfield.org/home.html

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DISCUSSION

a sliver of video from Dirty Milk


http://www.lewislacook.com/video/apr6_03C.mpg

http://www.lewislacook.com/
net art review: http://www.netartreview.net/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
furtherfield: http://www.furtherfield.org/home.html

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DISCUSSION

Re: Re: [thingist] Rub Linda the right way and she might show you wonderland


xposting--again: perhaps it's because of windows xp?
later, i promise to compost...
joseph sez:Maybe I am
exploitive in the sense that Lewis described, where the choice of any subject
exploits it. But it is not for the intended purpose of personal fame or
fortune.

i didn't mean to imply that such exploitation was for fame or fortune::i meant for affect///communication (which is impossible without exploitation)
all of which is an extreme view, i know: but linguistics and semiotics brings it to us...
Jim sez:There is nothing more sensationlist than death. Whether one sees &
> experiences it in real life (like I have & possibly others on this have to)
> or when one dies one's self. If one of my (dead) close friends had been
> photographed and used as art in such a way - I would not feel comfortable
> with it.
>

some of my dead close friends would have wanted to be used as art that way...
this whole debate is a testament to the power of images of the dead///i WOULD ask why, if there's such a consensus on the piece's lack of value, why it's generated so much discussion///but such questions usually backfire on me;;;;
i brought out some counterarguments to eryk's words that he nor anyone has yet addressed: part of it's the "exploitation," part of it's eryk's calling the piece "kitschy" and no-one's talked about artaud's theatre of cruelty in relation to this work///all of which i think are valid ways to see this piece///
i maintain that it's a good piece////it communicates to me///it means///it's a distinctly american piece as well: it uses the american ideology and turns it back in on itself (there's eroticism masking murder)---while everyone's boiling with outrage over this, why hasn't anyone asked themselves why? and why hasn't anyone noticed that this is actually the power of this work?
who says net art has no content....

bliss
l

http://www.lewislacook.com/
net art review: http://www.netartreview.net/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
furtherfield: http://www.furtherfield.org/home.html

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