ARTBASE (1)
BIO
Michael Szpakowski is an artist, composer, writer and educator.
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
Re: Her new apartment
This is very beautiful Lewis
michael
--- Lewis LaCook <llacook@yahoo.com> wrote:
>
>
> It's May and raining
> small heads of dirty glass
> all over Lorain city streets
> have melted. Every head
> has a mouth that sings names
> every girl I've ever crushed on
> dirty with a wakeful
> touching myself just before
> afternoon. I use a toothpick
> to stir a weed in my woody beggar's
>
> bowl black from oral smokes.
> It works like this stylus works, and
> it's just as eventually backlit
> in the middle of the day.
>
> There's May being one with drops.
> Marking down the drumming announced
> the proletariat so normal so she's
> out of place, and now must paint
> her new apartment with whatever she
> gets in order to have a sit-down.
> A product of Lorain City Schools,
>
> May's no rope around nothing.
>
>
>
>
>
> =====
>
>
>
***************************************************************************
>
> This is as useful as a doll.--Gertrude Stein
>
> http://www.lewislacook.com/
>
> Stamen Pistol: http://stamenpistol.blogspot.com/
>
> Poem of the Day: http://www.lewislacook.com/POD
>
> Sidereality: http://www.sidereality.com/
>
>
>
> tubulence artist studio:
> http://turbulence.org/studios/lacook/index.html
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> __________________________________
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> Win a $20,000 Career Makeover at Yahoo! HotJobs
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> +
> -> 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
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> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
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michael
--- Lewis LaCook <llacook@yahoo.com> wrote:
>
>
> It's May and raining
> small heads of dirty glass
> all over Lorain city streets
> have melted. Every head
> has a mouth that sings names
> every girl I've ever crushed on
> dirty with a wakeful
> touching myself just before
> afternoon. I use a toothpick
> to stir a weed in my woody beggar's
>
> bowl black from oral smokes.
> It works like this stylus works, and
> it's just as eventually backlit
> in the middle of the day.
>
> There's May being one with drops.
> Marking down the drumming announced
> the proletariat so normal so she's
> out of place, and now must paint
> her new apartment with whatever she
> gets in order to have a sit-down.
> A product of Lorain City Schools,
>
> May's no rope around nothing.
>
>
>
>
>
> =====
>
>
>
***************************************************************************
>
> This is as useful as a doll.--Gertrude Stein
>
> http://www.lewislacook.com/
>
> Stamen Pistol: http://stamenpistol.blogspot.com/
>
> Poem of the Day: http://www.lewislacook.com/POD
>
> Sidereality: http://www.sidereality.com/
>
>
>
> tubulence artist studio:
> http://turbulence.org/studios/lacook/index.html
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> __________________________________
> Do you Yahoo!?
> Win a $20,000 Career Makeover at Yahoo! HotJobs
> http://hotjobs.sweepstakes.yahoo.com/careermakeover
> +
> -> 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
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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La Divina Commedia
http://www.somedancersandmusicians.com/Some_QuickTime_Movies/the_divine_comedy.mov
also check out all the new self portraits at
http://www.somedancersandmusicians.com/self_portraits/index.html
best
michael
=====
*** You are asked for a jusqu'a car-portrait 'imagining ourselves' contribution.
http://www.somedancersandmusicians.com/self_portraits/contribute.html
It black and an empty image must be qu'avec null, he n'est become the methods and material digitali/fotografici, (acceptable = ink, matita, coal, varnish; acceptable not = computer the photography &c)
http://www.somedancersandmusicians.com/self_portraits/index.html ***
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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also check out all the new self portraits at
http://www.somedancersandmusicians.com/self_portraits/index.html
best
michael
=====
*** You are asked for a jusqu'a car-portrait 'imagining ourselves' contribution.
http://www.somedancersandmusicians.com/self_portraits/contribute.html
It black and an empty image must be qu'avec null, he n'est become the methods and material digitali/fotografici, (acceptable = ink, matita, coal, varnish; acceptable not = computer the photography &c)
http://www.somedancersandmusicians.com/self_portraits/index.html ***
__________________________________
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Win a $20,000 Career Makeover at Yahoo! HotJobs
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Re: Re: Re: Re: Re: Re: setting up the punch line
Breaking my own rules not to mix criticism and posting
work and overcoming my aversion to artist statements,
since the idea for this struck me whilst participating
in this thread.
The artist statement forms the audio part of the work
-its not an original idea of course -Alvin Lucier did
as much years ago in his wonderful "I am sitting in a
room", which in turn gets name checked here -how meta
is that?
http://www.somedancersandmusicians.com/phase_patterns/index.html
and I don't claim this as art - more a little study
best
michael
__________________________________
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work and overcoming my aversion to artist statements,
since the idea for this struck me whilst participating
in this thread.
The artist statement forms the audio part of the work
-its not an original idea of course -Alvin Lucier did
as much years ago in his wonderful "I am sitting in a
room", which in turn gets name checked here -how meta
is that?
http://www.somedancersandmusicians.com/phase_patterns/index.html
and I don't claim this as art - more a little study
best
michael
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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Re: Re: Re: Re: Re: setting up the punch line
Hi Curt
I claim it as no more than a tendency or perhaps
better, one possibility amongst others... but I do
think its there and there are material reasons for it.
By the way, in my opinion you're entirely right to
seperate the critical and artistic spheres in the way
that you do.
From the artist's point of view rather than reams of
explanation I wonder if there isn't some milage to be
had from the idea that we make stuff not for an ideal
viewer but for a "competent" one.
So in the case of generative stuff they would perhaps
have experienced similar work enough to know what to
look for.
When I watch something like Tarkovsky's "Mirror" in
the cinema -I can enjoy it initially in a purely
visceral, affective way -its a beautiful and
hearbreaking film. But if I do a little work- say on
Russian history and come back to it a second or third
time my enjoyment and what I get from the piece is
much enhanced thereby.
( of course the fact that I watch it with subtitles is
I suppose a kind of 'explanation' -although even here
my extremely poor Russian occasionally allows me to
get closer to the heart of a scene -if I acutually did
some serious work on it I'm sure it would be work
repayed)
Despite the fact that I grew up with and continue to
love pop culture with a fair bit of passion I do think
one of the negative outcomes of its hegemony has been
the idea that cultural experience should be available
immediately , without effort on the part of the
viewer. ( and this is not an argument for elitism but
for more opportunity for more people to learn about
and participate in artistic activity).
An interesting discussion!
best
michael
--- curt cloninger <curt@lab404.com> wrote:
> I still think surface polish is just one aspect of
> rigor/thoroughness/purposefulness -- the most
> initially obvious aspect but not necessarily the
> most important. Think of Matthew Barney's films.
> They are very polished visually in terms of a
> high-budget production sheen, and he's taken some
> crap from the art world for that. But his narrative
> is far from closed. I think it can fairly be argued
> that the films reward multiple viewings.
>
> It's like comparing the White Stripes to Stereolab.
> The former is one-off and raw-edged; the latter is
> intricate, layered, thoroughly arranged, with an
> ultra-glossy lounge production sheen. But both
> reward repeat listenings (and stereolab even
> moreso).
>
> There is a contemporary cliche that says gorgeous
> production value = commerce = not art, while
> low-budget technical shoddiness = legitimacy = art.
> I don't think it divides so neatly along those
> lines.
>
> But then I think "Summer Breeze" by Seals & Crofts
> is a work of sublime genius, so there you are.
>
>
>
> Michael Szpakowski wrote:
>
> > *..and another thing..*
> > one of the things it seems to me at least, that is
> a
> > necessary condition for great art is a , for want
> of a
> > better word, a *richness* -a depth to the piece
> which
> > means that it repays multiple viewings, readings,
> > hearings, visits with new insights.
> > Paradoxically its the very perfection of the
> surface
> > finish, the dotting of the Is and crossing of the
> Ts
> > in much commercial work that somehow closes a
> piece
> > off and precludes this quality.
> > (and why is it essential that it be so closed off
> > ?-because if you're paying top dollar for a
> invitation
> > to folk to spend their hard earned cash on your
> > product, however hip the artist you hire, however
> > apparently open the surface of the ad or whatever
> she
> > crafts for you, finally, finally you're paying
> money
> > for a *lack of ambiguity* -"buy my product" .And
> if
> > its say, a game, however subtle it is ultimately
> it
> > must be *encompassable*, *soluble* by any of your
> > target market, for you to make money -the twists
> and
> > turns, the resonances, must be finite)
> > I speculate that a certain lack of surface finish
> or
> > at least an unconcern or deprioritizing of it
> could
> > be related to what leaves a work more in dialogue
> with
> > the specatator, listener, whatever and with its
> > context, that creates this richness, this
> resonance.
> > michael
> +
> -> 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
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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I claim it as no more than a tendency or perhaps
better, one possibility amongst others... but I do
think its there and there are material reasons for it.
By the way, in my opinion you're entirely right to
seperate the critical and artistic spheres in the way
that you do.
From the artist's point of view rather than reams of
explanation I wonder if there isn't some milage to be
had from the idea that we make stuff not for an ideal
viewer but for a "competent" one.
So in the case of generative stuff they would perhaps
have experienced similar work enough to know what to
look for.
When I watch something like Tarkovsky's "Mirror" in
the cinema -I can enjoy it initially in a purely
visceral, affective way -its a beautiful and
hearbreaking film. But if I do a little work- say on
Russian history and come back to it a second or third
time my enjoyment and what I get from the piece is
much enhanced thereby.
( of course the fact that I watch it with subtitles is
I suppose a kind of 'explanation' -although even here
my extremely poor Russian occasionally allows me to
get closer to the heart of a scene -if I acutually did
some serious work on it I'm sure it would be work
repayed)
Despite the fact that I grew up with and continue to
love pop culture with a fair bit of passion I do think
one of the negative outcomes of its hegemony has been
the idea that cultural experience should be available
immediately , without effort on the part of the
viewer. ( and this is not an argument for elitism but
for more opportunity for more people to learn about
and participate in artistic activity).
An interesting discussion!
best
michael
--- curt cloninger <curt@lab404.com> wrote:
> I still think surface polish is just one aspect of
> rigor/thoroughness/purposefulness -- the most
> initially obvious aspect but not necessarily the
> most important. Think of Matthew Barney's films.
> They are very polished visually in terms of a
> high-budget production sheen, and he's taken some
> crap from the art world for that. But his narrative
> is far from closed. I think it can fairly be argued
> that the films reward multiple viewings.
>
> It's like comparing the White Stripes to Stereolab.
> The former is one-off and raw-edged; the latter is
> intricate, layered, thoroughly arranged, with an
> ultra-glossy lounge production sheen. But both
> reward repeat listenings (and stereolab even
> moreso).
>
> There is a contemporary cliche that says gorgeous
> production value = commerce = not art, while
> low-budget technical shoddiness = legitimacy = art.
> I don't think it divides so neatly along those
> lines.
>
> But then I think "Summer Breeze" by Seals & Crofts
> is a work of sublime genius, so there you are.
>
>
>
> Michael Szpakowski wrote:
>
> > *..and another thing..*
> > one of the things it seems to me at least, that is
> a
> > necessary condition for great art is a , for want
> of a
> > better word, a *richness* -a depth to the piece
> which
> > means that it repays multiple viewings, readings,
> > hearings, visits with new insights.
> > Paradoxically its the very perfection of the
> surface
> > finish, the dotting of the Is and crossing of the
> Ts
> > in much commercial work that somehow closes a
> piece
> > off and precludes this quality.
> > (and why is it essential that it be so closed off
> > ?-because if you're paying top dollar for a
> invitation
> > to folk to spend their hard earned cash on your
> > product, however hip the artist you hire, however
> > apparently open the surface of the ad or whatever
> she
> > crafts for you, finally, finally you're paying
> money
> > for a *lack of ambiguity* -"buy my product" .And
> if
> > its say, a game, however subtle it is ultimately
> it
> > must be *encompassable*, *soluble* by any of your
> > target market, for you to make money -the twists
> and
> > turns, the resonances, must be finite)
> > I speculate that a certain lack of surface finish
> or
> > at least an unconcern or deprioritizing of it
> could
> > be related to what leaves a work more in dialogue
> with
> > the specatator, listener, whatever and with its
> > context, that creates this richness, this
> resonance.
> > michael
> +
> -> 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
__________________________________
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Re: dark towers [new work]
tremendous Jess!
I particularly admire the way you generate both unity
and diversity within quite rigorous limits.
(*and* its beautiful..)
reminds me a bit ( not in a derivative sense, in
*feel*) of the work of Gary Hill, particularly the
wonderful multi screen thing that pops up in the Tate
Modern occasionally.
Worth the wait.
best
michael
--- Jess Loseby <jess@rssgallery.com> wrote:
> hi all
> to dispel rumours that i have moved to mars...
> http://www.rssgallery.com/darktower/darktowers.htm
> [new work]
> cheers,
> jess.
>
>
> o
> /^ rssgallery.com
> ][
>
>
>
> +
> -> 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
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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I particularly admire the way you generate both unity
and diversity within quite rigorous limits.
(*and* its beautiful..)
reminds me a bit ( not in a derivative sense, in
*feel*) of the work of Gary Hill, particularly the
wonderful multi screen thing that pops up in the Tate
Modern occasionally.
Worth the wait.
best
michael
--- Jess Loseby <jess@rssgallery.com> wrote:
> hi all
> to dispel rumours that i have moved to mars...
> http://www.rssgallery.com/darktower/darktowers.htm
> [new work]
> cheers,
> jess.
>
>
> o
> /^ rssgallery.com
> ][
>
>
>
> +
> -> 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
__________________________________
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
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