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

ARTBASE (1)
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DISCUSSION

Re: conceptual art was: [best work with Flash?]


Hi T.Whid et al.
<almost no historical knowledge
whatsoever and show almost
no knowledge of what the artists, critics,
theorists, philosophers, and
other writers of the time had to say about the work.
I'm not dissing
your definitions for simply being outside the canon,>
But this last sentence is precisely what you are
doing!
Your deployment of "art history" as if it consists of
a series of irrefutable and objective facts simply
will not do.
Who decides what 'the canon' is? -"History is written
by the victors"
It might be the case that certain ways of thinking
about art are currently hegemonic amongst curators,
academics and buyers but that *proves* nothing.
To prove something one at least has to make an
argument rather than quoting holy scripture.

<agreed (excepting spin art), but this points to why
your definitions,
to be blunt, are useless. they define all art in
relation to conceptual
art.>
I'm sure Curt can and will defend himself on this -my
reading is that he was engaged in a little bit of
independent thought here.
In fact he defines all art not in relation to
conceptual art but to the idea of 'concept' itself.
Instead of appealing to holy writ, party line or "art
history" or whatever -he goes back to a dictionary
definition and then demonstrates how it is quite
possible to see all artistic endeavour as falling some
way along a conceptual continuum to support his
altogether reasonable point that the best art (indeed
most art) contains elements of both the conceptual and
the aesthetic.
What bothers me about the response to Curt's post is
that he seems to be being attacked for the very thing
that was best about his post -the application of
striking and original thought to the problem at hand.
It's not necessary to agree with everything he says to
prefer this to the repetition of the orthodoxies of
"art history".
best
michael

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DISCUSSION

Quite amusing


http://www.coxar.pwp.blueyonder.co.uk/

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**DISCLAIMER:
Roth and Walker the joy of the anthem of Carletta to the edible one.
East of Wind. Phillips, Gordon. A painting.
Song of the Chorrito of Lewis Lacook. It is a strange song.
Woodland of Teratology. Does Bruce Conkle study the legend of Sasquatch?
Finally the young Salvaggio d'Eryk - a surrealista world where George Washington, a fox and a hen, a MUSE, fight in imaginary loneliness - a game.
District Postmaster: http://www.somedancersandmusicians.com/5operas.html **

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DISCUSSION

Re: best work with Flash? [ following curt ]


<Director on the other hand.. does it still give you
the logo during
the loading bar?>
yes!..and I deplore this & I'm not so familiar with
Flash but if that does something similar at some point
I deplore that too.
..but this is for me an important but seperate
argument from the one about whether some tools are by
their nature more suitable for the creation of art
works on the net than others and the wider but related
one of what does "idiomatic" mean for the net.
best
michael

=====
**DISCLAIMER:
Roth and Walker the joy of the anthem of Carletta to the edible one.
East of Wind. Phillips, Gordon. A painting.
Song of the Chorrito of Lewis Lacook. It is a strange song.
Woodland of Teratology. Does Bruce Conkle study the legend of Sasquatch?
Finally the young Salvaggio d'Eryk - a surrealista world where George Washington, a fox and a hen, a MUSE, fight in imaginary loneliness - a game.
District Postmaster: http://www.somedancersandmusicians.com/5operas.html **

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DISCUSSION

Re: Re: Re: Re: best work with Flash? [ following curt ]


<hits closer to the
essential nature of the net in it's present state.>
I'm becoming increasingly uncomfortable with the
notion of the "essential nature" of any medium - one
of the things, but by no means the only thing, that
disposes me to be interested in an artwork is how well
the artist overcomes the resistance of the medium.
Also although I get very tired of posts that say "yawn
..we thought this was all settled years ago"
( because that's often an excuse for evading the
subtleties of an argument) and though I like a good
argument as well as the next person, in this case I
*do* think there is a very real sense in which a lot
of this debate is simply about people boosting/dissing
their favourite/least favourite set of tools - my view
remains that the test of a creative artist is that if
they were lost in a deep dark wood with a piece of
charcoal and a slate they would sooner or later make
something interesting ( and not necessarily out of the
slate and charcoal)
It's horses for courses - tools aren't intrinsically
anything , the medium isn't intrinsically anything.
It's what the artist actually *does* in any of the
areas discussed that is where worthwhile discussion
begins.
Perhaps stupidly, personally, my heart sings when I
see pathetic little lo res images and movies
struggling for life on the net. I love 'em and I love
having to compress sound and make harsh & cruel
decisions about what to keep or reject.
For me what's nearest to idiomatic is simply the
channel of communication -I get pathetically excited
that I can just put the thing up there and people will
come and look at it. But all that's subjective and I
don't wish to make it into a general case except in
the negative sense to say that for me, possibly
peversely, the net is the best possible place to put
images.
best
michael

=====
**DISCLAIMER:
Roth and Walker the joy of the anthem of Carletta to the edible one.
East of Wind. Phillips, Gordon. A painting.
Song of the Chorrito of Lewis Lacook. It is a strange song.
Woodland of Teratology. Does Bruce Conkle study the legend of Sasquatch?
Finally the young Salvaggio d'Eryk - a surrealista world where George Washington, a fox and a hen, a MUSE, fight in imaginary loneliness - a game.
district postmaster: http://www.somedancersandmusicians.com/5operas.html **

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DISCUSSION

New Work -'Five Operas'- online.


http://www.somedancersandmusicians.com/5operas.html

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