Liza Sabater
Since the beginning
Works in New York, Nebraska United States of America

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DISCUSSION

Re: Re: ScanMail Message: To Sender, sensitive content found and action taken.


but ... isn't what network solutions does anyway? for the right
price, of course ...

>I advocate the creation of a Network Solutions-like company, a
>quasi-official body that will sell guaranteed access to email
>addresses. That third-party solution would possess a master list
>and database, along with a controlled blacklist. It would audit
>and regulate commercial email, allowing us to bribe our way
>through corporate firewalls. Alternately, we could all use the
>free software (which works) to filter free mail (which works.)
>
>On Fri, 21 Jun 2002, furtherfield wrote:
>
>> This is the type of backward nonsense I am referring to. If the word crappy
>> is seen as offensive sensitive then The American government is imposing
>> limits that are beyond reason. Who has had the same problems - or am I being
>> picked on by some 'cyber bimbo'.
>>
>> marc
>>
>>
>> ----- Original Message -----
>> From: "System Attendant" <LEE_NT3-SA@LEEPUB.com>
>> To: "'furtherfield'" <info@furtherfield.org>
>> Sent: Thursday, June 20, 2002 12:58 PM
>> Subject: ScanMail Message: To Sender, sensitive content found and action
>> taken.
>>
>>
>> > Trend SMEX Content Filter has detected sensitive content.
>> >
>> > Place = list@rhizome.org; ; ; furtherfield
>> > Sender = furtherfield
>> > Subject = RHIZOME_RAW: crappy!
>> > Delivery Time = June 20, 2002 (Thursday) 07:58:49
>> > Policy = Anti-Spam
>> > Action on this mail = Delete message
>> >
>> > Warning message from administrator:
>> > Content filter has detected a sensitive e-mail.
>> >
>>
>>
>>
> >
>>

DISCUSSION

(no subject)


At 3:25 PM -0400 19.6.02, Curt Cloninger wrote:
>If I spraypaint "Nike exploits" on a subway wall, I am subverting
>the company from without.
>
>If I trick Nike into saying "Nike exploits" in their own ad
>campaigns, if I trick them into using their own marketing money to
>distribute this slogan, if I trick them into thinking that they are
>promoting their own brand when in fact they are undermining it -- I
>am subverting the company from within.

This is what I call transgression --subversion from within the
(mythical) structures of power.

DISCUSSION

Re: you post modern me modern we both now IMPERALIST


didn't kiki smith already do that? at moma, nonetheless ....
:-)

>Could you collect the pee in a bottle, label it, and send it to me. I am
>collecting bottled pee from laughing or crying.
>
>--
>Joseph Franklyn McElroy
>Cor[porat]e [Per]form[ance] Art[ist]

DISCUSSION

Re: Re: what if and tid bits i cry to much


> >>>
>7. A radical aesthetics that promotes art as being as pro-active and
>significant as any other form of knowledge production.
>>>>
>
>YEEHAW on #7 especially!
>
>Are you proposing a movement, describing what is happening right now, or
>informing us of your own personal approach to art & the art world?
>
>I'll join the movement... let's be a radical branch of NEEN!
>
>(joke)
>

I thought we agreed on artware!

DISCUSSION

Re: what if and tid bits i cry to much


You've been gardening some psychotropics I assume ;-+

God, give it to Kate Southworth to get me out of lurking mode ...

I'll get back to you on this one --I'm busy homeschooling. But one
nugget out there --the radical philosophy is not that radical nor
new. It has been around for a while (at least 50 years). It was first
promulgated in Latin America, although Wallace Setevens dabbled in it
through a friendship.
It is an aesthetics that was first applied to poetics but could
easily be extended to any art form: Think Frank Ghery. Deleuze wrote
a fabulous book about it but in reference to Leibniz's philosophy.

Ok. I gotta go. Monster #2 is asking for his baba.

Topic: Neobaroque Aesthetics.
Talk amongst yourselves.

xoxo
Liza

>
>My response is this:
>
>It has to be rejected because it represents a skewed and restricted view of
>the artist and the production and consumption of art.
>
>I'm calling for a radical aesthetics.
>
>1. A radical philosophy of art, that views art not just as the end product
>of creative processes, but sees art as the processes of and the relationship
>between the production and consumption of artistic activity.
>
>2. A radical aesthetics that is relevant to the production and consumption
>of art rather than the theory of art.
>
>3. A radical aesthetics that encourages contradiction as a useful means of
>understanding, rather than as the antithesis of understanding.
>
>4. A radical aesthetics that promotes the role of art, and the role of the
>producer and consumer of that art, as a means by which our contemporary
>world in all its complexity, can be better understood.
>
>5. A radical aesthetic that re-evaluates the relationship between producer
>and consumer of art and perhaps allows for a number of relationships to
>co-exist.
>
>6. A radical aesthetic, that whilst recognising its contradictory nature,
>explores the contemporary and historical relationship between the
>production and consumption of art and the market, with the aim of developing
>an alternative model.
>
>7. A radical aesthetics that promotes art as being as pro-active and
>significant as any other form of knowledge production.
>
>8. A radical aesthetic that acknowledges that depending upon which aspect of
>the world art is investigating, then different tools, techniques,
>methodologies and approaches will be used, and that throughout all the
>different forms of art there are different political and ethical
>perspectives being reflected.
>
>9. A radical aesthetics that recognises the practice of art as just that -
>something that is worked at daily over a life time. A practice that through
>the process of making art (of whatever kind - yes, even painting) the artist
>(and hopefully, the audience of the work produced) grows in understanding of
>the inner and outer worlds and their relationship to each other.
>
>10. A radical aesthetics that promotes debate - between artists, and between
>artists and theorists, and between artists and audiences.
>
>11. A radical aesthetics that takes what it wants from traditional
>aesthetics, and from any other area of academic or non-academic life, and
>which rejects those elements which constrict or hinder it in any way.