Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Collectible After All: Christiane Paul on net art at the Whitney Museum


The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.

 Douglas Davis, image from The World's First Collaborative Sentence (1994).

Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?

I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.

US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.


booomerrranganggboobooomerranrang: Nancy Holt's networked video


Nancy Holt, Boomerang (1974), still from video.

In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.

I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.


Sound and Image in Electronic Harmony


semiconductor_nanowebbers.jpg
Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson

READ ON »


Tagalicious


Picture-1.jpg

The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...

READ ON »


Reappearance of the Undead


agatha_appears_lialina.gif

In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...

READ ON »



Discussions (281) Opportunities (10) Events (4) Jobs (0)
DISCUSSION

call for entries: DOLORES, artist residency in Munich


Date: Thu, 9 Feb 2006 18:12:18 +0100 (MET)
From: Annette Schemmel <a.schemmel@gmx.de>

Dear ladies and gentlemen,

being one of the curators of a young Munich art institution,
Lothringer13/laden (www.programangels.org), I would like to ask for your
network-support in order to spread the information on our latest format:

DOLORES, a new, 2-months artist residency for foreign fine art
practicioners in Munich. Application-Deadline: 28.2.2006!

Please find information on DOLORES and detailed criteria for applications
Below. Please feel free to forward that information to anyone you consider
as fitting!

Thanks in advance,

Annette Schemmel
annette@programangels.org

---
DOLORES (Doku e.V. - Lothringer13/laden - Residency)

For the first time in 2006 two Munich art institutions, the unique
artist-colony Domagkstrasse/Doku e.V. and the established city-run art
space Lothringer13/laden offer a 2-month artist residency in Munich for
art producers from abroad: DOLORES!

E-mail-application deadline: 28.2. 2006

Our interest is to temporarily overcome the financial exclusiveness of our
home-town for foreign artists and to connect to art praxes aside the first
art market on an international level by creating dialogue and networks.

The residency term is 1.08.2006 - 30.09.2006. Doku e.V. places a single
bedroom in an artist Wohngemeinschaft and a 2-moths public transport
ticket at the host

DISCUSSION

Re: isabelle dinoire


I fully understand where you are coming from in saying that Linkoln might
have "made a cartoon out of an act of courage," but this piece doesn't
read to me as someone "just making fun"--except perhaps in the sense that
it employs many techniques that are common to his work and which are, in
themselves, often "fun."

To put it very crudely, we are talking about an act of remixing a face.
Given Linkoln's body of work, it's interesting to juxtapose tissue
sampling and the sampling of media. It's not my role to overstate or
impose such an "intention" upon this work, but I think it can definitely
be read in that way.

I honestly see nothing immoral about this video. That's obviously just one
person's subjective response, but it's one informed by another subjective
response to the mainstream discourse surrounding face transplants. The
subject is scary, exciting, and confusing. I think Linkoln is part of a
generation of artists who make remixes to make sense of things in a media
saturated culture.

And it just so happens that this all occurs in a time of intense policy
debate about both cloning and copyright.

> it's impossible to tell the truth.
> this is not about truth or falsity

I agree with you here, Annie.

This video reads, to me, like an animation of the "techniques of the
observer," as Jonathan Crary famously put it. Observation, itself, is a
complex operation...

Meanwhile, it's interesting to observe the response to this work. Dare I
ask in what way "the images on the tele were a lot more impressive," and
how they were any more "moral" than Linkoln's video? Is this your
sentiment about the footage?

I have to say that I personally find some of the pithy headlines and media
treatment of this story to be more outrageous...

Anyway, I think this is an important conversation with implications far
broader than the reception of Linkoln's video.

Marisa

On 2/7/06, aabrahams <aabrahams@bram.org> wrote:
> This is what I wrote to Abe this morning :
>
> > "I do appreciate your work a lot, but this time I don't understand you.
> > For me the images on the tele were a lot more impressive.
> > you made a cartoon out of an act of courage. (even when certainly
> > inspired/obliged by for-fame-looking surgeons)
> > and you didn't denounce anything
> >
> > you were
> > just making fun?
> >
> > did I miss something?
> >
> > best Annie Abrahams"
> >
>
>
> it's impossible to tell the truth.
> this is not about truth or falsity
>
> maybe about morals?
>
>
>
>
> On 2/7/06, Marisa Olson <marisa@rhizome.org> wrote:
> > > > http://dvblog.org/isabelle-dinoire
> >
> > > The music is great & the creation of a kind of 'arc of
> > > suspense', of crafting an implied narrative out of the
> > > source material is done with consummate skill.
> >
> > I agree. It was very engaging.
> >
> > > I can't help feeling that this piece, effective as it
> > > is (& perhaps precisely because of this) somehow fails
> > > in an artistically and ethically problematic way to
> > > *tell the truth*...
> >
> > I find this to be an interesting point. Some questions...
> >
> > *Why is it artistically important to tell the truth?
> > *Why is it ethically important to tell the truth in a work of art?
> > *How does this piece fail to tell the truth, in your opinion?
> > *[How] does it lie?
> > *Is this simply a question of humane reference to human subjects or some
> > larger point about the responsibility of art? (all art?)
> > *Is this an expectation imposed on a work of art because of its use of
> > "documentary" material?
> > *Is the "reality" of the source material, itself, not true enough?
> > *Or do you find this to be some sort of "double positive" (ie true
footage
> > plus true footage equals falsity..)?
> > *Without implying that this piece tries to do so, but just jumping to the
> > larger question, is it "artistically and ethically problematic" to draw
> > from verite to escape from and/or parody reality?
> >
> > Sorry--I had to use at least one French word in this post. :)
> >
> > Marisa
> >
> >
> > On 2/7/06, Michael Szpakowski <szpako@yahoo.com> wrote:
> > > This is as well made as one would expect it to be.
> > > The music is great & the creation of a kind of 'arc of
> > > suspense', of crafting an implied narrative out of the
> > > source material is done with consummate skill.
> > > Why then do I feel so uncomfortable with it?
> > > I think because it seems to impose a narrative from
> > > particular fictional genres, horror, SF ( & here I
> > > call as my witness the music, accomplished as it is,
> > > and the synching of the final frames to the music, the
> > > convulsive quality of it - & I don't think I am simply
> > > projecting any personal squeamishness here) onto a
> > > current event,the story of which moreover, even
> > > allowing for the hype & distortion endemic to our
> > > media, is clearly a complex web of tragedy,
> > > resourcefulness, gratitude, ( oh -& a deep
> > > strangeness, I don't deny)..
> > > I can't help feeling that this piece, effective as it
> > > is (& perhaps precisely because of this) somehow fails
> > > in an artistically and ethically problematic way to
> > > *tell the truth*...
> > > michael
> > >
> > > --- abe linkoln <abe@linkoln.net> wrote:
> > >
> > > > http://dvblog.org/isabelle-dinoire
> > > >
> > > > +
> > > > -> 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
> > > >
> > >
> > > +
> > > -> 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
> > >
> >
> >
> > +
> > -> 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
> >
>
>
> --
>
> Traces :
>
> Sessions provi&testi 2005
> francais http://bram.org/special/provi&testi/index.htm
> english http://bram.org/special/provi&testi/indexang.htm
>
> Puisque ma Voix
> francais http://bram.org/special/puisque/index.htm
> english http://bram.org/special/puisque/indexeng.htm
>
> +
> -> 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
>

DISCUSSION

Re: isabelle dinoire


> > http://dvblog.org/isabelle-dinoire

> The music is great & the creation of a kind of 'arc of
> suspense', of crafting an implied narrative out of the
> source material is done with consummate skill.

I agree. It was very engaging.

> I can't help feeling that this piece, effective as it
> is (& perhaps precisely because of this) somehow fails
> in an artistically and ethically problematic way to
> *tell the truth*...

I find this to be an interesting point. Some questions...

*Why is it artistically important to tell the truth?
*Why is it ethically important to tell the truth in a work of art?
*How does this piece fail to tell the truth, in your opinion?
*[How] does it lie?
*Is this simply a question of humane reference to human subjects or some
larger point about the responsibility of art? (all art?)
*Is this an expectation imposed on a work of art because of its use of
"documentary" material?
*Is the "reality" of the source material, itself, not true enough?
*Or do you find this to be some sort of "double positive" (ie true footage
plus true footage equals falsity..)?
*Without implying that this piece tries to do so, but just jumping to the
larger question, is it "artistically and ethically problematic" to draw
from verite to escape from and/or parody reality?

Sorry--I had to use at least one French word in this post. :)

Marisa

On 2/7/06, Michael Szpakowski <szpako@yahoo.com> wrote:
> This is as well made as one would expect it to be.
> The music is great & the creation of a kind of 'arc of
> suspense', of crafting an implied narrative out of the
> source material is done with consummate skill.
> Why then do I feel so uncomfortable with it?
> I think because it seems to impose a narrative from
> particular fictional genres, horror, SF ( & here I
> call as my witness the music, accomplished as it is,
> and the synching of the final frames to the music, the
> convulsive quality of it - & I don't think I am simply
> projecting any personal squeamishness here) onto a
> current event,the story of which moreover, even
> allowing for the hype & distortion endemic to our
> media, is clearly a complex web of tragedy,
> resourcefulness, gratitude, ( oh -& a deep
> strangeness, I don't deny)..
> I can't help feeling that this piece, effective as it
> is (& perhaps precisely because of this) somehow fails
> in an artistically and ethically problematic way to
> *tell the truth*...
> michael
>
> --- abe linkoln <abe@linkoln.net> wrote:
>
> > http://dvblog.org/isabelle-dinoire
> >
> > +
> > -> 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
> >
>
> +
> -> 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
>

DISCUSSION

Fwd: Fake European propaganda movie hits Austria and Bologna


From: Franco Mattes <Propaganda@0100101110101101.org>
Date: Jan 22, 2006 2:20 PM
Subject: Fake European propaganda movie hits Austria and Bologna

22 January 2006, FOR IMMEDIATE RELEASE

Fake European propaganda movie hits Austria and Bologna Mattes' grand
artwork keeps on spreading in both the public and the media space.

'United We Stand' is the title of the much-hyped spy/action movie wholly
produced by Europe, a large-scale propagandistic stunt that has in the
past few months stirred much controversy. Too bad the movie doesn't
actually exist, but it is instead the latest insane provocation of the
artists' couple Eva and Franco Mattes, better known as
0100101110101101.ORG. After Berlin, Brussels, Barcelona, New York and
Bangalore, the gigantic performance has now landed in Austria and Bologna.

While the movie itself doesn't exist, the actors and the flashy poster do.
They portray the inspired faces of the main characters surrounded by the
blue of the European flag and by gruesome war scenes. The movie's Web site
also exists - www.UnitedWeStandMovie.com - and it is accompanied by an
extensive advertising campaign covering half the globe, causing extreme
reactions in both the streets and the media.

"United We Stand" Eva Mattes explains "mimics the typical Hollywood action
movie where the US always wins and saves the world. We have used their
cliched visual elements, but we have replaced their flag with the European
one. The outcome is quite disturbing, it seems to me that it better
communicates what we often take for granted, rather than stating what it
truly represents".

In the past months, the movie's posters have appeared on the remains of
the Berlin wall, in front of the European Parliament, underneath the
Empire State Building and on the picturesque walls of Bangalore, India.
The campaign reaches across small urban centers as well as the
advertising-crowded streets of global metropolises. Right now, as Austria
is about to take over the European presidency, the advertising for
'United We Stand' is appearing on dozens of large advertising billboards
along the Austrian roads, visible from hundreds of yards away.

Still in Europe, but just further south, in Bologna, Italy, the flocks of
movie fans that notoriously crowd the city have lately been wondering how
a blockbuster movie with such big names as Ewan McGregor and Penelope Cruz
could be released without them knowing it in advance. Different reactions
were found on the McGregor's official fan site: "If Ewan decided to do it,
I would definitely see it!".

"The choice of the subject" writes Flavia De Sanctis Mangelli on the
Italian newspaper l'Unita during the days of the New York campaign "a
supposed war between the United States and China, with Europe trying to
solve the case through diplomacy, is soaked with subtle and ironic
provocation. How will Europe convince the two super powers? How can
European political culture stand up to the great propaganda
simplifications of Hollywood? The work is a poignant take on the
tremendous power that the media has in the formation of consensus, as well
as a biting political satire against a very small Europe, that only united
could succeed in having its voice heard".

The enormous artwork keeps on spreading, exploiting any existing medium,
from the traditional news media, such as TV and the press, to
word-of-mouth and the Internet. "United We Stand" writes Ben Davis on
Artnet Magazine "with its focus on rejiggering pop cultural codes in
social space, is a canny updating of Pop art for the age of viral
marketing, when the mass media has penetrated firmly into the everyday".

Parallel to the international promotional campaign, the work is exhibited
until January the 21st at Postmasters Gallery, New York, and at Arte Fiera
(January 27-30), in the Fabio Paris Art Gallery (Pad. 21, Stand B15).

About the authors

Eva and Franco Mattes - internationally known as 0100101110101101.ORG -
are a couple of restless European con-artists who use non-conventional
communication tactics to obtain the largest visibility with the minimal
effort. Past works include inventing and promoting a nonexistent artist;
spreading a computer virus as a work of art; challenging and defeating
Nike Corporation in a legal battle for a fake advertising campaign.

--

To contact Eva e Franco Mattes:
http://0100101110101101.org/contacts.html

More info:
http://www.0100101110101101.ORG
http://www.UnitedWeStandMovie.com
http://www.postmastersart.com
http://www.fabioparisartgallery.com

DISCUSSION

Re: schizoanalizys for beginners


Hi. Millie Niss asked me to forward this info about a recent project of
hers to the list. I particularly enjoyed Michael Szpakowski's performance
of her lyrics!

She said in a follow-up email, "The project will eventually have stuff
about other categories of drugs (I have stuff in the works about pain
killers) as well, and I hope it will address the cultural role of
pharmaceuticals as well as the medical issues."

On 1/19/06, Millie Niss <men2@columbia.edu> wrote:
> I completely agree with you about the misuse of the term
"schizophrenia." I
> have serious mental illness myself and I also lived for four years with
> someone who has bad schizophrenia. I also know many others who suffer
from
> this awful illness.
>
> On the topic of web art and mental illness, I have just made some work
about
> psychotropic medication (it's critical, but not against p[sych meds as
such,
> which help many people, only against irresponsibel use of these drugs).
> There is a song, video, and a small flash app which documents many real
> people's experiences with psych meds: www.sporkworld.org/pills
>
> Comments are welcome, this work is still in progress!
>
> Millie
> ----- Original Message -----
> From: "Marisa Olson" <marisa@rhizome.org>
> To: <list@rhizome.org>
> Cc: <manik@ptt.yu>; <miklos@sympatico.ca>
> Sent: Thursday, January 19, 2006 8:07 PM
> Subject: Re: RHIZOME_RAW: schizoanalizys for beginners
>
>
> >I know there is a facetious pun at play here, but I just wanted to chip in
> > about a subject very important to me...
> >
> > I have long been appalled by the way that theorists supposedly steeped in
> > psychoanalytic readings could misdefine schizophrenia and then
> > consistently glamorize this very serious, very misdefined condition as
> > some sexy alternative to 'reality.' There is a long list of scholars
> > who've become quite famous in the course of building and upholding this
> > farce.
> >
> > Now I'm all for creativity, metaphor, and wordplay, but I feel that
any of
> > us with a ligitimate interest in these discourses or in contributing to
> > any kind of meaningful conversation have a personal responsibility not to
> > entrench this kind of grossly irresponsible scholarship.
> >
> > IMHO!
> > marisa
> >
> >
> > +
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> >
>
>
>