Michael Szpakowski
Since the beginning
Works in Harlow United Kingdom of Great Britain and Northern Ireland

ARTBASE (1)
Discussions (1004) Opportunities (5) Events (14) Jobs (0)
DISCUSSION

thus far on 'Scenes of Provincial Life'...


http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi

thus far on 'Scenes of Provincial Life'...
21MB, 19 sec palindrome loop, sound.

best
michael

DISCUSSION

Re: RHIZOME_RAW: Re: Re: second life dramas


<but that's not the point, is it?
the point is being able to discern.>
Hmm -sounds good but then there's a definite muddying
of the waters in all this:
<sometimes also in "you infringed my
copyright/work/activity/fame/whatever. don't you
know?">
There is *such* a *huge difference* between
*appropriating* work & remixing &c to create
derivative ( used without pejorative connotation)
works which of course doesn't involve the destruction
of the original, which I'm all in favour of the widest
rights to, and *vandalizing* the work of another
artist, work which presumably the artist has spent
time and care putting together. The muddying involves
trying to cover up behaviour which could be
characterised at the very least as bad mannered by
covering oneself in the honourable mantle of the
defence of appropriation &c.( or indeed an appeal to
avant-gardism - Duchamp didn't scrawl LHOOQ across the
*actual* Gioconda) The virtuality of it makes no
difference. Neither does the perceived "quality " of
the work or of its location. As Lee & Martin point
out, making work ( real or virtual), re-uploading
files, takes *actual* time. Maybe some people are so
time, money and resource rich that this wouldn't be an
issue but I can't imagine that's the case for most of
us.
The fact of it being in second life alters nothing
-one could easily imagine someone making out a case
for (real) book-burning on the grounds that the
printed signs are merely feeble second order
conventional representations of *real* spoken language
and that, anyway, they could just be reprinted...
There is absolutely nothing in what anyone has said in
defence of this that could not equally be used to
justify vandalizing people's individual sites or real
world exhibitions according to the individual tastes
of the vandal.
Rather than screeds of self justifying attempts to
excuse the inexcusable the decent thing would be a
simple apology.
michael

--- Salvatore Iaconesi
<salvatore.iaconesi@fastwebnet.it> wrote:

> Patrick Lichty said:
>
> > He's protesting for pro-choice at Planned
> Parenthood...
>
> wow.. you found out.. the internet is so powerful.
>
> i actually enjoy watching some of you pretending i'm
> a no-no, and making statements.
> some of which i even agree with (as i said, i would
> have kicked myself out of odyssey, too.. it's part
> of the game), some of which i don't. but that's
> (first/second)life isn't it.
>
> > First of all, I feel that it's great that Odyssey
> has its first troll.
>
> :) just let me get my cave's texture right, and
> we're set.
>
>
> and the: getting to the point
>
> > Secondly, I ask what the function of the
> intervention was. Obviously, it
> > has gained some attantion, which is a core
> principle of tactical media. But
> > then, what is the sociocultural function?
>
> raise questions on how real-world schemes transfer
> to virtuality, on the way that our flesh-and-bones
> forms of perception and of social interaction try to
> occupy spaces in which they make no sense, on the
> way in which the collaborative digital spaces (not
> only SL, but also blogs, for example) turn out to be
> spaces for ego, for closed-mutual-recursive
> interaction.
>
> On how globality is sometimes just another
> neighborhood, with houses that are just a little
> farther apart.
>
> And on the possibilities offered by accessible
> spaces ( but this is an old issue. It sounds like
> "everyone is a musician, everyone is an artist,
> everyone is a critic, everyone is a curator,
> everyone is a journalist... " etcetera, and the
> obvious arising critique... don't take this one too
> seriously..).
>
> now: don't jump to conclusions too fast, as my
> position on these issues 1) doesn't matter that much
> and 2) it could be very different from what you
> might guess by inspecting my actions, which are not
> declarative, but investigative
>
> > In my opinion, bombing Odyssey for perpetuating
> the banal
> > mimetic recreation of boring traditional art is
> like striking Greenpeace for
> > not protecting the environment well enough.
>
> and, about my actions: i did the same things all
> over second life.
> I even posted a couple of them to rhizome, and a
> couple to odyssey, too!
> the fact that i didn't look for coverage (on media,
> newsletters, whatever) is just another story.
> i posted this whole thing here because i thought it
> was both funny and interesting, at the same time,
> and because i love rhizome as a platofrm for
> discussion.
> and i am quite enjoying the responses, too. If any
> of you want, i will post a guy's 3 weeks of offenses
> he sent me for flooding his lawn on SL: they're
> interesting, amusing and grotesque, at the same
> time.
>
> but that's not the point, is it?
>
> the point is being able to discern.
>
> it's a recurring question that doesnt actually have
> a real answer.
>
> it's, partly, about new media.
> sometimes the question transforms into "how do i
> sell new media art"".
> sometimes it transforms itself into "what *is* new
> media art?".
> sometimes it transforms into "who are new media
> artists? who can say 'i'm a new media artist, and
> not a programmer?'"
> sometimes even into "what do critics and curators
> want? they want to be artists, too?"
> sometimes also in "you infringed my
> copyright/work/activity/fame/whatever. don't you
> know?"
>
> and it's, partly, on virtual/digital environments.
> first part of this question: are they really
> democratic? second part of the qustion: is the fact
> that many try to put their analog_life schemes (part
> of them, at least: studying the various cases is an
> interesting topic itself) into digital spaces an
> evolution or a form of exhaust valve for real_life
> frustrations?
>
> these questions are, in a way, missing a part of the
> global perspective: digital objects and spaces are
> different, in terms of immateriality, of free
> replicability, of ubiquity, of the sources used to
> create them, of the instruments used to experience
> them, and a whole lot more.
>
> > If Salvatore wanted to question commercial mimetic
> practice, he could
> > certainly go to the decor art island Artropolis
> which is marketing itself
> > similiarly to a Kinkaide-esque approach for Second
> Life, or any of the other
> > kitsch galleries. That is, aiming at mass
> marketing art using SL-based
> > memetics. Or look at half the artists covered in
> SLArt blog and have at it.
>
> well.. as a matter of fact, i did already :)
>
> polygonal hugs!
> s
> +
> -> 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: RHIZOME_RAW: Image database


Hi Nathaniel!
don't know whether this contains specifically what
your friend is looking for but it's an extensive and
rather wonderful resource:

http://commons.wikimedia.org/wiki/Category:The_Yorck_Project

cheers
m.
--- nathaniel <nathaniel.stern@gmail.com> wrote:

> Hey all:
>
> Have a friend looking for an image database for
> paintings, prints,
> etc, categorized by keyword or subject. Does not
> need to be free, but
> does need to be historical - eg not flickr or
> google, but something
> like a collection or library. Any ideas? Thanks in
> advance...
>
> nathaniel
> http://nathanielstern.com
>
> Begin forwarded message:
> > From: Patrick Young <young.patrick@gmail.com>
> > Date: October 2, 2007 11:27:33 AM GMT+02:00
> > To: ns@nathanielstern.com
> > Subject: re: Image search
> >
> > Nathaniel,
> > Thanks again for speaking to me on the phone last
> week, and I'm
> > sorry this follow up email is so late in coming.
> You may remember
> > that I'm looking for an image database for some
> research I'm doing.
> > I'm working on an adaptation of Nietzsche's Thus
> Spoke
> > Zarathustra, and I'm looking for images associated
> with the text,
> > particularly in visual art -- for instance, I'm
> looking for
> > paintings of tightrope walkers and midgets. I'd
> obviously love to
> > have access to images, but even a text archive
> would help, because
> > then I could hunt down the images myself. Any
> suggestions + leads
> > you might have of places to look would be greatly
> appreciated.
> > Thanks so much for your help, and I look forward
> to speaking to you
> > again soon.
> >
> > Yours,
> > Parick
>
>
>
> +
> -> 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

DISCUSSION

Re: [NetBehaviour] nznl.com digest, Sep 20, 2007 - Sep 26, 2007


Yes -I would hang on to the Tarkovskys -definitely.
These are great! I love the local/global temporal
dichotomy in this project; if you sample it any given
week you think you've got it down ie. *locally* the
works seem clearly related, in particular formally.
But..go back a few weeks, a few months & you're in a
strange & different land..As a whole it's like a huge
Wittgensteinian chain..
There's a lot of big ( and often, to me, utterly
incomprehensible) talk about what characterises work
on the net. One thing that's absolutely clear is how
*natural* the episodic, the cumulative, is. I'm not
saying it's easy because I know it's not. But there is
something distinctive and splendid about this kind of
work, especially when it's done as wholeheartedly and
as well as this.
michael

--- Geert Dekkers <geert@nznl.com> wrote:

> nznl.com digest
> Sep 20, 2007 - Sep 26, 2007
> Posts 1930 - 1936
>
> http://nznl.com
> rss http://nznl.com/geert/nznl.xml
> macosx only screensaver at http://graphics.nznl.org/
>
> nznl_com_screensaver.dmg (>95MB)
>
> 1930. Sep 20, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WILL YOU
> SCRAPE MY FILTH)
> flash movie
> http://nznl.com/index.php?dag 070920
>
> 1931. Sep 21, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE MY
> HEART)
> flash movie
> http://nznl.com/index.php?dag 070921
>
> 1932. Sep 22, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE)
> flash movie
> http://nznl.com/index.php?dag 070922
>
> 1933. Sep 23, 2007
> INTERLUDE, 2011, INTERLUDE
> flash movie
> http://nznl.com/index.php?dag 070923
>
> 1934. Sep 24, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE
> MOVE MOVE)
> flash movie
> http://nznl.com/index.php?dag 070924
>
> 1935. Sep 25, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WE NEED
> THE EXCUSE OF A
> FICTION TO STAGE WHAT WE TRULY ARE)
> flash movie
> http://nznl.com/index.php?dag 070925
>
> 1936. Sep 26, 2007
> STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CABINET)
> flash movie
> #!/usr/bin/env bash
> say -v Vicki -o
> /Users/geert/Sites/_nznl/20070926/1.aiff "I used to
>
> keep a large cabinet of the most important works of
> literature, that
> I had collected with meticulous care. And a separate
> cabinet for art
> books. But I never looked into one of them, let
> alone read in them.
> They were just for my guests. Then one day I did
> away with both
> cabinets. Now I have just my Tarkovsky movies, and a
> small number of
> books that I read over and over."
> http://nznl.com/index.php?dag 070926
>
>
> Geert Dekkers---------------------------
> http://nznl.com | http://nznl.org | http://nznl.net
> ---------------------------------------
>
>
>
> > _______________________________________________
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