ARTBASE (1)
BIO
Belgrade artists Marija Vauda and Nikola Pilipovic have been
collaborating as MANIK since 1999.Their work reflects the
march of history, sometimes literally outside their studio, and a
dialogue with the international artistic community through
organisations and events such as Rhizome and Free Manifesta. Tiija is
their first weblog piece, their previous work has been in mediums as
diverse as video, performance, happenings, email, painting and
installation.
collaborating as MANIK since 1999.Their work reflects the
march of history, sometimes literally outside their studio, and a
dialogue with the international artistic community through
organisations and events such as Rhizome and Free Manifesta. Tiija is
their first weblog piece, their previous work has been in mediums as
diverse as video, performance, happenings, email, painting and
installation.
Short stories for beginners IV
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Maria was at one of those comfortable schools where everything is
attended to.She was(as she had just heard her Aunt Ena explaining to Mrs.
Dosely)a motherless girl,sensitive,sometimes difficult,deeply reserved.
At school they took all this,with her slight tendency to curvature and
her dislike of all puddings,into loving consideration.She was havng her cha=
racter
"done"for her-later on,when she came out,would be time for her hair and com=
lexion.
In addition to this,she learn sswimming,dancing,some French,the more
innocent aspects of history,and noblesse oblige .
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<STYLE></STYLE>
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size=2> </FONT></DIV>
<DIV align=center><FONT face=Arial size=2></FONT> </DIV>
<DIV align=center><FONT face=Arial size=2>Maria was at one of those c=
omfortable
schools where everything is</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>attended to.She was(as she =
had just
heard her Aunt Ena explaining to Mrs.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>Dosely)a motherless
girl,sensitive,sometimes difficult,deeply reserved.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>At school they took all thi=
s,with her
slight tendency to curvature and</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>her dislike of all puddings=
,into
loving consideration.She was havng her character</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>"done"for her-later on,when=
she came
out,would be time for her hair and comlexion.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>In addition to this,she lea=
rn
sswimming,dancing,some French,the more</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>innocent aspects of history=
,and
<EM>noblesse oblige</EM> .</FONT></DIV>
<DIV align=center><FONT face=Arial size=2> &nb=
sp;
</FONT></DIV>
<DIV align=center> </DIV>
<DIV align=center> </DIV></BODY></HTML>
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Maria was at one of those comfortable schools where everything is
attended to.She was(as she had just heard her Aunt Ena explaining to Mrs.
Dosely)a motherless girl,sensitive,sometimes difficult,deeply reserved.
At school they took all this,with her slight tendency to curvature and
her dislike of all puddings,into loving consideration.She was havng her cha=
racter
"done"for her-later on,when she came out,would be time for her hair and com=
lexion.
In addition to this,she learn sswimming,dancing,some French,the more
innocent aspects of history,and noblesse oblige .
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<META content="MSHTML 5.00.2919.6307" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
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size=2> =
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size=2> </FONT></DIV>
<DIV align=center><FONT face=Arial size=2></FONT> </DIV>
<DIV align=center><FONT face=Arial size=2>Maria was at one of those c=
omfortable
schools where everything is</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>attended to.She was(as she =
had just
heard her Aunt Ena explaining to Mrs.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>Dosely)a motherless
girl,sensitive,sometimes difficult,deeply reserved.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>At school they took all thi=
s,with her
slight tendency to curvature and</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>her dislike of all puddings=
,into
loving consideration.She was havng her character</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>"done"for her-later on,when=
she came
out,would be time for her hair and comlexion.</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>In addition to this,she lea=
rn
sswimming,dancing,some French,the more</FONT></DIV>
<DIV align=center><FONT face=Arial size=2>innocent aspects of history=
,and
<EM>noblesse oblige</EM> .</FONT></DIV>
<DIV align=center><FONT face=Arial size=2> &nb=
sp;
</FONT></DIV>
<DIV align=center> </DIV>
<DIV align=center> </DIV></BODY></HTML>
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Short stories for beginners III
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Short stories for beginners II
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Short stories for beginners I
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Re: Re: Re: No Web Art in the Whitney Biennial?
Our(?)West civilization is not against "art",it just ghettoized,disinfected
and institunationalized "art" and make social acceptable product.Social
condition for someone who want to be considered as an artist are
latent,invisible,unspoken which mean strong and clean in essence.Ones
absorbed it became bearing,even desirable because get rid of moral and
psychological dilemmas.That's the way to entering in trap of "academism".
There's two places(space category)for "art";fixed
places-galleries,museums,public or private places for announced
"art"happenings,and unfixed places-fluxes which belong to
"art"like"prostitute to virtue".Consequences are fixed and
unfixed("artist's")existence.
Chain of social facts nominate "art". Default of aesthetic paradigms make
illusion that some genius turn over thing in"art",but what really happens is
far from that.
Path of "art" look like some political economy contract between "artist"and
society."Art"as an social product is more acceptable in high budget
variant.Luxurious artifacts are desirable mirrors for any society and
society by consensus confirm them as an "art" and cultural heritage.
On the other side,in Verwerfung,in gray zone,in space out of any social
contract,far from convertible exchanging of sense,uninhabited places are
constituent for main stream.It's like matter and anti-matter.Paradoxaly
those two classes of space imagination constitute"World of Art".Transition
from Verwerfung in "World of Art" is possible.Metamorphosis is caused by
social condition.That kind of "transgression"expanding cultural
borders(parallelism between inside and outside expansion!).Metamorphosis is
definitely.Essence of existence is ultimate different now.After that is
impossible to make distance from
institutionally(academically)"art".Appropriation other
paradigms,replacement,consequently mean renunciation and escape from
position which make possible free creator.Now we hawed Artist,perfect part
of social machine,example for "Getaway from freedom".
Ambivalent position,suspect which is immanent to net communication bring
dispersion and make blur in hard edge between fixed and unfixed spaces.Also
there's huge number of people who don't have art education.They have
skill,sense for new and unexpected,pioneer spirit,they are kind of new
barbarian and that's good reason to make Whitney curators so sensitive.Butt
we should not bee worried.Next Biennial will show us all magnificence of new
rising social contract.There's so many computers in world to bee ignored
just like that.
MANIK
----- Original Message -----
From: "curt cloninger" <curt@lab404.com>
To: <list@rhizome.org>
Sent: Tuesday, November 04, 2003 4:48 AM
Subject: RHIZOME_RAW: Re: Re: No Web Art in the Whitney Biennial?
> Hi Jim,
>
> Eastgate Systems ( http://eastgate.com ) publish ROM-based hypertexts in
the US. They seem open to moving toward hypermedia, but their emphasis is
decidedly narrative.
>
> Web designers publish ROM compilations containing interactive design
experiments, homemade software, and such:
> http://www.codexseries.com
> http://youworkforthem.com/product.php?sku=P0034
> http://www.designerdock.de/designershock/ds003/inhalt.html
> http://www.shift.jp.org/factory/choice/09.html
>
> Then there is the "autogenerative meta-art as commercial software"
paradigm:
> http://www.auto-illustrator.com
> http://www.dextro.org
> https://order.kagi.com/cgi-bin/store.cgi?storeID=3WJ&&
>
> We're pretty far off topic, but if anybody knows of any interesting,
commercially available new media ROM-based projects (not linear DVD, not
linear audio, not Quake or Doom), I'd love to hear about them.
>
> +++++++++++++
>
> Regarding the artist/curator & writer/publisher conundrum, i'll introduce
another dichotomy that cuts across both pairings -- academic/popular.
>
> In print, I can write an article for Wired magazine that earns me some
thousand dollars and is read by half a million people, or I can submit a
much more thoroughly footnoted article to a peer-reviewed journal that few
(albeit well-degreed) people read, and if my article is accepted, I get the
pleasure of putting that fact on my CV.
>
> In art, I can make and self-publish net art that attracts thousands of
unique visitors per day, but unless that art is funded or commissioned by
some academically recognized, taste-arbiting institution, it means little to
the academy.
>
> In Rennaissance Italian painting, if the Pope hired you, you had arrived.
In 70s disco music, if your new single went tripple platinum, you had
arrived. In mid-90s net art, if you got some hits and the odd email from a
confused but amused visitor, you had arrived. But now, net artists are
"real" artists, subject to the same funky, academically-derived arbitration
machinations as every other gallery-desirous contemporary artists. Or are
we?
>
> http://www.easylife.org/netart/catalogue.html
>
> tyrannosaurus rex,
> the eater of cars
> _
>
>
> Jim Andrews wrote:
>
> > I come mainly from a background in writing. And radio. Consider the
> > situation concerning publishers/net.art in relation to
> > curators/net.art.
> >
> > There are very few publishers of literary or literary-related texts
> > with any
> > significant involvement in net.art. In Canada, where I live, there's
> > Coach
> > House Books ( http://www.chbooks.com ) out of Toronto. They do quite a
> > bit
> > of production for the Web. Yet they are pretty hypertext-oriented, ie,
> > not
> > much image or javascript or sound etc used in ways that don't 'go by
> > the
> > book'. Which is fine and dandy but there aren't too many writers who
> > use
> > hypertext to any effect. An exception being Kate Armstrong (Vancouver)
> > whom
> > I don't think has anything out from Coach House.
> >
> > In the States, there's Alt-x. Again, they're pretty pdf or
> > hypertext-oriented, but there's a sense that they could be more
> > net-art
> > oriented in the future, given that Mark Amerika seems to run that
> > show.
> >
> > MIT press seems to be the most interesting publisher of new-media
> > related
> > books.
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
and institunationalized "art" and make social acceptable product.Social
condition for someone who want to be considered as an artist are
latent,invisible,unspoken which mean strong and clean in essence.Ones
absorbed it became bearing,even desirable because get rid of moral and
psychological dilemmas.That's the way to entering in trap of "academism".
There's two places(space category)for "art";fixed
places-galleries,museums,public or private places for announced
"art"happenings,and unfixed places-fluxes which belong to
"art"like"prostitute to virtue".Consequences are fixed and
unfixed("artist's")existence.
Chain of social facts nominate "art". Default of aesthetic paradigms make
illusion that some genius turn over thing in"art",but what really happens is
far from that.
Path of "art" look like some political economy contract between "artist"and
society."Art"as an social product is more acceptable in high budget
variant.Luxurious artifacts are desirable mirrors for any society and
society by consensus confirm them as an "art" and cultural heritage.
On the other side,in Verwerfung,in gray zone,in space out of any social
contract,far from convertible exchanging of sense,uninhabited places are
constituent for main stream.It's like matter and anti-matter.Paradoxaly
those two classes of space imagination constitute"World of Art".Transition
from Verwerfung in "World of Art" is possible.Metamorphosis is caused by
social condition.That kind of "transgression"expanding cultural
borders(parallelism between inside and outside expansion!).Metamorphosis is
definitely.Essence of existence is ultimate different now.After that is
impossible to make distance from
institutionally(academically)"art".Appropriation other
paradigms,replacement,consequently mean renunciation and escape from
position which make possible free creator.Now we hawed Artist,perfect part
of social machine,example for "Getaway from freedom".
Ambivalent position,suspect which is immanent to net communication bring
dispersion and make blur in hard edge between fixed and unfixed spaces.Also
there's huge number of people who don't have art education.They have
skill,sense for new and unexpected,pioneer spirit,they are kind of new
barbarian and that's good reason to make Whitney curators so sensitive.Butt
we should not bee worried.Next Biennial will show us all magnificence of new
rising social contract.There's so many computers in world to bee ignored
just like that.
MANIK
----- Original Message -----
From: "curt cloninger" <curt@lab404.com>
To: <list@rhizome.org>
Sent: Tuesday, November 04, 2003 4:48 AM
Subject: RHIZOME_RAW: Re: Re: No Web Art in the Whitney Biennial?
> Hi Jim,
>
> Eastgate Systems ( http://eastgate.com ) publish ROM-based hypertexts in
the US. They seem open to moving toward hypermedia, but their emphasis is
decidedly narrative.
>
> Web designers publish ROM compilations containing interactive design
experiments, homemade software, and such:
> http://www.codexseries.com
> http://youworkforthem.com/product.php?sku=P0034
> http://www.designerdock.de/designershock/ds003/inhalt.html
> http://www.shift.jp.org/factory/choice/09.html
>
> Then there is the "autogenerative meta-art as commercial software"
paradigm:
> http://www.auto-illustrator.com
> http://www.dextro.org
> https://order.kagi.com/cgi-bin/store.cgi?storeID=3WJ&&
>
> We're pretty far off topic, but if anybody knows of any interesting,
commercially available new media ROM-based projects (not linear DVD, not
linear audio, not Quake or Doom), I'd love to hear about them.
>
> +++++++++++++
>
> Regarding the artist/curator & writer/publisher conundrum, i'll introduce
another dichotomy that cuts across both pairings -- academic/popular.
>
> In print, I can write an article for Wired magazine that earns me some
thousand dollars and is read by half a million people, or I can submit a
much more thoroughly footnoted article to a peer-reviewed journal that few
(albeit well-degreed) people read, and if my article is accepted, I get the
pleasure of putting that fact on my CV.
>
> In art, I can make and self-publish net art that attracts thousands of
unique visitors per day, but unless that art is funded or commissioned by
some academically recognized, taste-arbiting institution, it means little to
the academy.
>
> In Rennaissance Italian painting, if the Pope hired you, you had arrived.
In 70s disco music, if your new single went tripple platinum, you had
arrived. In mid-90s net art, if you got some hits and the odd email from a
confused but amused visitor, you had arrived. But now, net artists are
"real" artists, subject to the same funky, academically-derived arbitration
machinations as every other gallery-desirous contemporary artists. Or are
we?
>
> http://www.easylife.org/netart/catalogue.html
>
> tyrannosaurus rex,
> the eater of cars
> _
>
>
> Jim Andrews wrote:
>
> > I come mainly from a background in writing. And radio. Consider the
> > situation concerning publishers/net.art in relation to
> > curators/net.art.
> >
> > There are very few publishers of literary or literary-related texts
> > with any
> > significant involvement in net.art. In Canada, where I live, there's
> > Coach
> > House Books ( http://www.chbooks.com ) out of Toronto. They do quite a
> > bit
> > of production for the Web. Yet they are pretty hypertext-oriented, ie,
> > not
> > much image or javascript or sound etc used in ways that don't 'go by
> > the
> > book'. Which is fine and dandy but there aren't too many writers who
> > use
> > hypertext to any effect. An exception being Kate Armstrong (Vancouver)
> > whom
> > I don't think has anything out from Coach House.
> >
> > In the States, there's Alt-x. Again, they're pretty pdf or
> > hypertext-oriented, but there's a sense that they could be more
> > net-art
> > oriented in the future, given that Mark Amerika seems to run that
> > show.
> >
> > MIT press seems to be the most interesting publisher of new-media
> > related
> > books.
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