http://www.flawedart.net
The New American Dictionary
The Boston-based performance group Institute for Infinitely Small Things has published a book called The New American Dictionary.
The dictionary highlights the terminology of fear, security and war that has permeated American English post 9-11. It includes 68 new terms i.e. Preparedness and Freedom Fries as well as terms that have recently been redefined i.e. Torture.
The dictionary also has an interactive dimension. 58 terms are left undefined for the reader to pencil in their own definition. Furthermore, readers are invited to submit their additions to the institute for a possible inclusion in the 2nd edition.
The New American Dictionary is available at several online stores.
exhaust emissions balloons
a huge balloon, tied to a car�s vent-pipe, depicting the amount of exhaust emissions a car releases a day.
the "bursting earth" project is similar, but more dynamic. activists attach world globe balloons on exhaust pipes of cars in Berlin. the exhaust gas inflates the ballons. after the message becomes readable, there is a big "bang".
[link: frederiksamuel.com & adsoftheworld.com & 20to20.org]
WoW!
Aram Bartholl is a german artist renowned for making physical abstractions of the digital world, particularly game-worlds.
One of Aram's not-to-be-missed performances is inspired by the popular computer game World of Warcraft (WoW).
In WoW, the nickname of the player's avatar is constantly hovering above the head of the player so that the identity is visible for everyone else in the game.
Aram took this little feature out of cyberspace to see how it would look if people's names would float above their heads in the physical world too.
WoW has been performed at different locations around the world. Luckily, it is well-documented!
• Getting coffee WoW style • Workshop in Ghent • Project Site
REALIZING THE IMPOSSIBLE: ART AGAINST AUTHORITY
Aesthetics and Politics
REALIZING THE IMPOSSIBLE: ART AGAINST AUTHORITY by Josh MacPhee, Erik Reuland, editors :: There has always been a close relationship between aesthetics and politics in anti-authoritarian social movements. And those movements have in turn influenced many of the last century's most important art movements, including cubism, Dada, post-impressionism, abstract expressionism, surrealism, Fluxus, Situationism, and punk. Today, the movement against corporate globalization, with its creative acts of resistance, has brought anti-authoritarian politics into the forefront. This sprawling, inclusive collection explores this vibrant history, with topics ranging from turn-of-the-century French cartoonists to modern Indonesian printmaking, from people rolling giant balls of trash down Chicago streets to massive squatted urban villages and renegade playgrounds in Denmark, from stencil artists of Argentina to radical video collectives of the US and Mexico. Lots of illustrations, all b&w.;
Re: do you know of art work where.....
Louise Kay wrote:
> Hey! I'm a student currently working on a found footage project. I
> need to find some artists who have adopted a similar production
> practice as my group. We are working independently of one another
> with only one visual image as stimulus and the premise that our sound
> and image will create some kind of contradiction. Please help!
Re: Re: Re: Re: Re: Re: Sociology of the Fading Signal--Can You Hear Me Now?
JM Haefner wrote:
> On Thursday, November 20, 2003, at 04:17 PM, mark cooley wrote:
>
> > you could say that insofar as we place almost total faith in
> something
> > (technology) that we see as existing outside of ourselves but is
> > actually our own invention.
>
> so is god
>
> > i see it as this, but differing from religion in that we see
> > technology as always evolving (and taking us with it) toward some
> > higher state of existence rather than as a static order of things
> > (religion).
>
> apparently people think god lives...therefore evolves
>
> > in this way perhaps the rhetoric around technology is even more
> > disturbing than religious rhetoric because it allows for the
> infinite
> > expansion of capital.
>
> you should live in the bible belt...they fight about whether THEY are
> the buckle of the belt
>
> > it is interesting to see the debates around biotechnology for
> instance
> > - many oppositional arguments focus on biotech disturbing god's
> plan,
> > whereas many scientific arguments for biotech center on a (supposed
> > natural) progression of human's control (through technology of
> course)
> > of nature.
>
> the Hubble telescope has or should have upset many ideas about where
> we
> stand in the universe
>
> > both are essentialist positions but i am wondering which is better
> or
> > worse - in terms of reproducing the ideology of capitalism.
> hmmmmm?
>
> money is god's reward
>
> Coming soon:
> Art about the above, or
> the KKK, or
> the government.
>
> -=j
>
Re: Re: Re: Re: Sociology of the Fading Signal--Can You Hear Me Now?
JM Haefner wrote:
> and so too...technology is the new opiate of the masses...
>
> -=j
>
>
> On Thursday, November 20, 2003, at 10:35 AM, mark cooley wrote:
>
> > perhaps implicit within this discussion, but i don't think touched
> > upon directly yet, is the discussion of technology and alienation in
> a
> > marxist sense. capitalist political economy (with which we
> > participate) demands that we (the professional/political classes at
> > least) be multipresent. because by nature the body cannot be
> located
> > in several locations at once (without decapitation at least). we
> > substitute our presence with technology (perhaps there could be a
> > discussion here on technology as fetish). What happens with
> > loss/disturbance of signal is a concrete reminder of our lack of
> > presence. unfortunately, rather than questioning a
> political/economic
> > system that puts our bodies into a position of inferiority to
> > technology and subservant to a naturalized social order of
> increasing
> > alienation, many instead blame it on the technology - we displace
> our
> > anxiety about our alienation by buying the next big promise of
> > "connection" which again reenforces our alienation. This di!
> > scussion could involve a more direct reference to the rhetoric of
> the
> > telecommunications industry. There are many television ads that
> come
> > to mind which are meant to sooth consumers into choosing the latest
> > telecommunication devices over choosing the presence of body - this
> > becomes a moral choice. In the case of an ad depicting a parent at
> an
> > airport (obviously traveling for business) calling in to her/his
> > child's gradeschool play and listening over the cell, later
> declaring
> > to the child that (s)he didn't in fact miss the performance -
> thanks
> > to the trusty cell phone. Another, more recent ad, goes much
> further.
> > there's a father, again at an airport on business, talking to his
> > daughter who is sitting beside him. someone walks by obscuring our
> > view of the father for an instant and when we can see him again it
> is
> > revealed that he is actually speaking to his daughter on his cell.
> > Obviously, underlying these ads, is the moral assumption that
> parental
> > presence is necessary (wh!
> > ich most would agree with), but the political/economic structures
> that
> > alienate parent from child are completely naturalized. The
> realities
> > of global capital cannot be questioned in such a way that is
> > threatening to capital and so thanks to global capital (information
> > networks) a parent's cellular presense is just as good as the real
> > thing.
> >
> > i have to stop writing because i have to go to work... or maybe
> i'll
> > just call in and tell the bosses and students that my telepresence
> is
> > just as good as the real thing.
> >
> > Sean Capone wrote:
> >
> >> more (this got accidentally posted under the heading The XTC of
> >> Communication) :
> >>
> >> 1) Total Information Loss (TIL) part II: if a signal is basically
> >> information, then the types of data we store on our portable
> devices
> >> (phone books, day planners, alarms, location technologies, email
> etc)
> >> ensures the probability of their use. Remember when we used to
> carry
> >> around little phone books of our friends and relatives contact
> >> information? Can you even remember anyone's phone # these days
> besides
> >> your own?
> >> Bearers of information must have the security of potentiality. Back
> up
> >> your address books, kids.
> >>
> >> 2) Inadvertant social experiment in action: today as I was playing
> >> phone-and-email monkey-in-the-middle while trying to meet a
> client's
> >> deadline, the project mgr's phone rudely switched off its voice
> >> capabilities while commuting; for the next hour I was subject to
> >> flurries of email & text messages being sent from his phone to the
> >> phone of an on-site colleague, who would vocally relay his
> managerial
> >> anxieties. His only role was to provide a front end filter to the
> >> client, the subterfuge of which became increasingly complex in an
> >> almost sitcom way as the emails, txt msgs, and phone calls
> >> exponentially crossed and misfired.
> >>
> >> 3) Off topic for a minute, I can understand the design convergence
> of
> >> aerodynamically engineered cars and shoes, but why make cell phones
> >> look like that too? I suspect that they play off deeply coded
> cultural
> >> signifiers of speed & mobility.
> >>
> >> 4) More references: "I'm Losing You" by Bruce Wagner (the title
> refers
> >> to the utterance said during imminent signal loss on cells, but of
> >> course has deeper symbolic meaning--read the book!); also, Ghost in
> >> the Shell graphic novels. Side by side, at their core, these are
> two
> >> very different and beautiful examinations of spirituality and human
> >> value as mediated by telecommunications & signal interference.
> >>
> >> 5) Music: Scanner, Oval, PreFuse 73; we have to consider the
> aesthetic
> >> of hiphop, cliqhop, and IDM-- musical forms which are ecstatic over
> >> the corrupt or fragmented signal information in a transmission
> medium
> >> (scratches, pops, CD clicks, phonetic deconstruction). Evocation of
> >> nostalgia through the act of disappearing.
> >>
> >> 6) I ran some of these ideas by the proprietor of a gallery space
> and
> >> plan on revising these ideas into a formal curatorial thesis.
> Please
> >> drop any suggestions my way about artists who are working in any
> >> medium that addresses the physical, visual, technological, or
> >> metaphorical social spaces engendered by the anxiety--or relief--
> of
> >> signal disappearance.
> >>
> >> 7) How could I forget-- Invisible Cities by Italo Calvino. A most
> >> wonderful book which, aside from its many complex themes and
> morals,
> >> explores how the clarity of communication--the gradual learning of
> a
> >> language-- hinders the free association and imagination of more
> >> symbolic means of story-telling.
> >>
> >>
> >>
> > +
> > -> 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
>
Re: Re: Sociology of the Fading Signal--Can You Hear Me Now?
i have to stop writing because i have to go to work... or maybe i'll just call in and tell the bosses and students that my telepresence is just as good as the real thing.
Sean Capone wrote:
> more (this got accidentally posted under the heading The XTC of
> Communication) :
>
> 1) Total Information Loss (TIL) part II: if a signal is basically
> information, then the types of data we store on our portable devices
> (phone books, day planners, alarms, location technologies, email etc)
> ensures the probability of their use. Remember when we used to carry
> around little phone books of our friends and relatives contact
> information? Can you even remember anyone's phone # these days besides
> your own?
> Bearers of information must have the security of potentiality. Back up
> your address books, kids.
>
> 2) Inadvertant social experiment in action: today as I was playing
> phone-and-email monkey-in-the-middle while trying to meet a client's
> deadline, the project mgr's phone rudely switched off its voice
> capabilities while commuting; for the next hour I was subject to
> flurries of email & text messages being sent from his phone to the
> phone of an on-site colleague, who would vocally relay his managerial
> anxieties. His only role was to provide a front end filter to the
> client, the subterfuge of which became increasingly complex in an
> almost sitcom way as the emails, txt msgs, and phone calls
> exponentially crossed and misfired.
>
> 3) Off topic for a minute, I can understand the design convergence of
> aerodynamically engineered cars and shoes, but why make cell phones
> look like that too? I suspect that they play off deeply coded cultural
> signifiers of speed & mobility.
>
> 4) More references: "I'm Losing You" by Bruce Wagner (the title refers
> to the utterance said during imminent signal loss on cells, but of
> course has deeper symbolic meaning--read the book!); also, Ghost in
> the Shell graphic novels. Side by side, at their core, these are two
> very different and beautiful examinations of spirituality and human
> value as mediated by telecommunications & signal interference.
>
> 5) Music: Scanner, Oval, PreFuse 73; we have to consider the aesthetic
> of hiphop, cliqhop, and IDM-- musical forms which are ecstatic over
> the corrupt or fragmented signal information in a transmission medium
> (scratches, pops, CD clicks, phonetic deconstruction). Evocation of
> nostalgia through the act of disappearing.
>
> 6) I ran some of these ideas by the proprietor of a gallery space and
> plan on revising these ideas into a formal curatorial thesis. Please
> drop any suggestions my way about artists who are working in any
> medium that addresses the physical, visual, technological, or
> metaphorical social spaces engendered by the anxiety--or relief-- of
> signal disappearance.
>
> 7) How could I forget-- Invisible Cities by Italo Calvino. A most
> wonderful book which, aside from its many complex themes and morals,
> explores how the clarity of communication--the gradual learning of a
> language-- hinders the free association and imagination of more
> symbolic means of story-telling.
>
>
>
mark cooley: new work on warProductwar
warProductwar is a site for reflection and meditation on U.S. war culture. The project will develop over time as a series of installations through which participant/viewers may re-view cultural representations in possibly revealing (or at least troubling) juxtapositions. Through the course of the project, warproductwar will remain in a state of flux. Broken links and loose ends should be expected. Additions, deletions, and changes are continually pondered and infrequently enacted.
INSTALLATION RECORD
4/03 - The Good, Bad & the Profitable
9/12/03 - Stocks to go Long on, the Death of History & Candy Bombs
11/16/03 - StateSponsoredTerror: participatory list
FAIR USE NOTICE. This site contains copyrighted (im)material. Use of copyrighted (im)material has not been specifically authorized by copyright owners. Previously published content is recontextualized and made available @ war-product-war.com in efforts to promote active re-readings of U.S. visual culture in reference to war, alienation, and the global economy. The function of this site constitutes a 'fair use' of the copyrighted material as provided for in section 107 of the U.S. Copyright Law.
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a FLAWEDart production http://art-design.smsu.edu/cooley