> TS can copy what he prefers, how many times he wants. The only problem is
> that ArtBase that (i was thinking) should have an historicization
> function,
> accepted it.
> So following your idea next year I can take the ascii works by eryk,
> change
> 1 color and then this wonderful reinterpretation will be listed as a new
> work? Everything in this digital age can be copied and restyled and that's
> the reason why people's brains in valuating things (artworks, songs,
> poetries and so on.) are so important today .
Yes, if you were undertake a project to copy, deliberately, Eryk's work,
he (Eryk) might not *like it,* but it could constitute a project. In that
case, since you had made it clear that you were interested in making a
work about copying and plagiarism, I think the Eryk-copies would be read
in the historical context of those modes.
I didn't suggest that TS intended to copy your work -- I think that is how
you're interpreting it, but that is your call. I have no idea.
>
> Perhaps you believe in djing. i don't.
>
> so thank you for your time Rachel,
>
> all the best,
> carlo zanni
>
> "As a friend, as a friend, as an old enemy
> Take your time, hurry up
> The choice is your, don't be late
> Take a rest as a friend as an old memoria"
>
> come as you are, nirvana
>
>
>
>
>
> ----- Original Message -----
> From: <
Rachel@rhizome.org>
> To: "Eryk Salvaggio" <
eryk@maine.rr.com>
> Cc: "cz" <
cz@zanni.org>; <
marc.garrett@furtherfield.org>;> <
rachel@rhizome.org>; "RHIZOME" <
list@rhizome.org>
> Sent: Thursday, July 03, 2003 7:27 PM
> Subject: Re: Historically Significant Imitations
>
>
>> To me there are obvious similarities and differences with the works. In
>> both, the use of two image fields represents the twin towers. Carlo's
>> work
>> uses color however, to suggest the passage of time, and I think, an
>> emotional range.
>>
>> But even if the Scarpino piece uses imitation or derivation, I don't
>> think
>> that precludes its inclusion in the artbase, or invalidates it as a
>> work.
>> Imitation, derivation and appropriation have been established practices
>> for centuries. Artists would often compete and dialogue with one another
>> by painting the same landscape, or mythical scene, using the same
>> conventions -- pushing the limits of painting a particular building or
>> church -- seeing what happened when the building was painted by
>> different
>> hands with unique techniques. In contemporary discourse, appropriation,
>> re-photography, plagiarism are de rigeur. Examples include Sherry Levine
>> (After Walker Evans), and Rauschenburg's piece when he erased a de
>> Kooning
>> to make his own work (I think it was de Kooning.). As you point out
>> Eryk,
>> online, authorship is even more slippery (01's), and net artists have
>> had
>> to go so far as to foreground url data to render a web work unique
>> (Lialina's Agatha Appears).
>>
>> Carlo, I think if I were you, I would try to think of Scarpino's piece
>> in
>> dialogue with yours -- perhaps a tribute, perhaps a response. Maybe it
>> comes out of a totally different context that renders it an important
>> expression (e.g. Scarpino's relationship to 9.11, his work in
>> architecture, his all white oeuvre -- I am making these up, but you see
>> my
>> point). I find your work more interesting in light of the fact that
>> there
>> is other, similar work being made -- it makes one want to dig deeper.
>>
>> Finally, there isn't anything "new" or "original" about using forms for
>> web compositions, (and I don't even know if "new" or "original" makes
>> work
>> valuable anymore) as I am sure you are aware. If you think you've been
>> ripped off in the mean-spirited sense of the word, I would encourage you
>> contact Alena about it. But given the trauma of 9-11, and people's need
>> to
>> respond and react to it, I personally doubt that is a dominant factor of
>> Scarpino's project.
>>
>> I will leave the artbase policy for Alena to address.
>>
>>
>