ARTBASE (3)
PORTFOLIO (2)
BIO
Rob Myers is an artist and hacker based in the UK.
I have been creating images of the contemporary social and cultural environment through programming, design software and visual remixing since the early 1990s. My work is influenced by popular culture and high art in equal measures. My interest in remixing and sampling has led to my involvement in the Free Culture movement. I have been involved in the public consultation regarding the Creative Commons 2.0 and CC-UK licenses. All my visual art is available under a Creative Commons license.
My interest in programming has led to my involvement with the Free Software movement. I developed the Macintosh version of the Gwydion Dylan programming language compiler. All my software is available under the GNU GPL.
I have been creating images of the contemporary social and cultural environment through programming, design software and visual remixing since the early 1990s. My work is influenced by popular culture and high art in equal measures. My interest in remixing and sampling has led to my involvement in the Free Culture movement. I have been involved in the public consultation regarding the Creative Commons 2.0 and CC-UK licenses. All my visual art is available under a Creative Commons license.
My interest in programming has led to my involvement with the Free Software movement. I developed the Macintosh version of the Gwydion Dylan programming language compiler. All my software is available under the GNU GPL.
Re: Re: Re: Rolls Royce funding UK arts
PRESS RELEASE 19th Jan 2046
Rolls Royce today announced that their aesthetics operations overtook
their military propulsion unit to become their most profitable wing
today.
"Our architectural deconstructives, body notion problematisers and
scoptic refusal devices lead the world in quality concretised aesthetic
discourse" said CEO Richard b'Stard. "We can reduce the text of an
entire town to its constituent discourses faster than offerings from
any other manufacturer, making Rolls Royce the most socially inclusive,
value adding way to enrich the local community through art".
Peace campaigners have complained that you can call warheads, cluster
bombs and laser blinders whatever you like, but that that doesn't make
them art. Dupp responds readily to such criticisms: "Reactionary
kitschmongers always react with fear to challenging new art that
questions their outmoded aesthetics. They should stick to watercolours
and pickling sharks".
RRS stock rose 0.000001EU on the announcement."
- Rob.
On 18 Jan 2004, at 20:52, bruno martelli wrote:
> I was gonna say that they (RR) are going to do dodgy stuff even if
> thay are boycotted by a few artists. As to the association with Tate
> and the whole PR thing - think about the last great show you went to
> - can you remember the sponsors? did you buy their product?. Evil
> corporates are always going to need to give cash away for tax reasons
> - why shouldn't artists benefit from this even tho' the cash is dirty?
> Who knows - if the show does really well then RR might decide to spend
> a bit more money on art and a bit less on evil engines if this keeps
> happening maybe they will give up on the engines altogether.....
> +
> -> 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
Rolls Royce today announced that their aesthetics operations overtook
their military propulsion unit to become their most profitable wing
today.
"Our architectural deconstructives, body notion problematisers and
scoptic refusal devices lead the world in quality concretised aesthetic
discourse" said CEO Richard b'Stard. "We can reduce the text of an
entire town to its constituent discourses faster than offerings from
any other manufacturer, making Rolls Royce the most socially inclusive,
value adding way to enrich the local community through art".
Peace campaigners have complained that you can call warheads, cluster
bombs and laser blinders whatever you like, but that that doesn't make
them art. Dupp responds readily to such criticisms: "Reactionary
kitschmongers always react with fear to challenging new art that
questions their outmoded aesthetics. They should stick to watercolours
and pickling sharks".
RRS stock rose 0.000001EU on the announcement."
- Rob.
On 18 Jan 2004, at 20:52, bruno martelli wrote:
> I was gonna say that they (RR) are going to do dodgy stuff even if
> thay are boycotted by a few artists. As to the association with Tate
> and the whole PR thing - think about the last great show you went to
> - can you remember the sponsors? did you buy their product?. Evil
> corporates are always going to need to give cash away for tax reasons
> - why shouldn't artists benefit from this even tho' the cash is dirty?
> Who knows - if the show does really well then RR might decide to spend
> a bit more money on art and a bit less on evil engines if this keeps
> happening maybe they will give up on the engines altogether.....
> +
> -> 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: rhizome raw is boring
On 17 Jan 2004, at 11:01, Jim Andrews wrote:
> The graphic of the dead dogs by Manik was hair-raising, unanswerable.
The one bit of content I suggested a contributor put a warning on when
testing for MSN many years ago was a series of "how to" photos of a
hare being skinned. Back when Flash was new and just after Bill Gates
reversed his position on the Internet...
- Rob.
> The graphic of the dead dogs by Manik was hair-raising, unanswerable.
The one bit of content I suggested a contributor put a warning on when
testing for MSN many years ago was a series of "how to" photos of a
hare being skinned. Back when Flash was new and just after Bill Gates
reversed his position on the Internet...
- Rob.
Re: you are being mapped
On 7 Jan 2004, at 16:04, t.whid wrote:
> On Jan 6, 2004, at 11:18 PM, marcos weskamp wrote:
>
>> Dear rhizomers,
>>
>> notice: All email sent to this list is being confiscated and analized.
>
> dude.. i didn't know one COULD analize someone online ;-)
Clearly you've never been to a MUCK... :-)
- Rob.
> On Jan 6, 2004, at 11:18 PM, marcos weskamp wrote:
>
>> Dear rhizomers,
>>
>> notice: All email sent to this list is being confiscated and analized.
>
> dude.. i didn't know one COULD analize someone online ;-)
Clearly you've never been to a MUCK... :-)
- Rob.
Re: strict chapters, spagetti poedry
On 30 Dec 2003, at 19:28, manik wrote:
> What do you think?
I don't know, I couldn't work out what you were trying to say or who
you were trying to say it to.
- Rob.
> What do you think?
I don't know, I couldn't work out what you were trying to say or who
you were trying to say it to.
- Rob.
Re: strict chapters, spagetti poedry
On 29 Dec 2003, at 07:31, Justin Simoni wrote:
>> OOP as in novel-length projects; a methodology for making a code
>> project
>> manageable when it gets big. like chapters and paragraphs and so on,
>
> I don't think you're analogy is entirely correct. OOP is used to cut a
> project into "objects" (thus the name), which can then be combined in
> different ways, be inherited, and all that cal. I would say that this
> is
> very similar to any sort of note-taking during the novel writing phase.
Objects are also called "actors" in some methodologies and views. You
can model conventional narrative very simply as an OO system. Indeed
modern computer games are based on this assumption.
> For instance, I have index card for the "Bad Guys", which are like
> a,b,c.
This is very much like the CRC Cards used in OOP.
> You'd be better comparing how OOP is to procedural programming as
> traditional writing is to nonlinear writing.
There's work done on computational narrative, including a Prolog
grammar for simple narrative. There's even been conferences, but I
don't have the URLs to hand.
Propp's "Morphology Of The Folktale" is an unintentional classic in
computational narrative.
Bear in mind that procedural/functional/logical programming can all
write the same programs, they just supposedly make tackling some
classes of problems more or less easy. It's *NOT* like translating a
novel from French to English, there are no untranslatable concepts
lurking in the text.
That said, a functional/procedural/object plot structure or descriptive
technique could be interesting, at least as a thought experiment.
>> how do you update the novel form?
>
> Wasn't the novel, "novel" once?
I'd be more interested in updating the novel content. Form will follow
(see the 1960s "New Wave" of SF, especially Michael Moorcock's "Jerry
Cornelius" short stories).
>> it wouldn't be what it is without its history, but the very history
>> prevents
>> it from being recast into what you want to create next.
>
> You could probably say the same thing about painting and you'd
> probably be
> wrong.
Indeed. Ignorance is bliss for the producer but not the consumer.
Uninformed production tends to provincialism. Refusal requires that you
know what you're refusing, and rebellion requires that you know what
you're rebelling against. Etc.
> Crack watercolor ice cubes onto the canvas; wait till they melt and
> make
> pretty designs. There you go: a non-determinant painting, given a set
> of
> rules that can be adjusted (for example, temp of the room), just like
> any
> little Flash animation toy.
Cool!
> So what's your point? No more interesting poems? Poop.
> If you say nothing is left to be done with something, something new
> will be
> done with it; just like your weeds.
The idea that everything has been done has been done. It requires an
extraordinary presumption of ultimacy on the part of one's taste. The
idea of the exhaustion of <insert form here> is a reaction to a
specific set of post-Second-World-War conditions that can only now hold
as affectation or unconsidered dogma.
But it fills essays, as it has for decades.
- Rob.
>> OOP as in novel-length projects; a methodology for making a code
>> project
>> manageable when it gets big. like chapters and paragraphs and so on,
>
> I don't think you're analogy is entirely correct. OOP is used to cut a
> project into "objects" (thus the name), which can then be combined in
> different ways, be inherited, and all that cal. I would say that this
> is
> very similar to any sort of note-taking during the novel writing phase.
Objects are also called "actors" in some methodologies and views. You
can model conventional narrative very simply as an OO system. Indeed
modern computer games are based on this assumption.
> For instance, I have index card for the "Bad Guys", which are like
> a,b,c.
This is very much like the CRC Cards used in OOP.
> You'd be better comparing how OOP is to procedural programming as
> traditional writing is to nonlinear writing.
There's work done on computational narrative, including a Prolog
grammar for simple narrative. There's even been conferences, but I
don't have the URLs to hand.
Propp's "Morphology Of The Folktale" is an unintentional classic in
computational narrative.
Bear in mind that procedural/functional/logical programming can all
write the same programs, they just supposedly make tackling some
classes of problems more or less easy. It's *NOT* like translating a
novel from French to English, there are no untranslatable concepts
lurking in the text.
That said, a functional/procedural/object plot structure or descriptive
technique could be interesting, at least as a thought experiment.
>> how do you update the novel form?
>
> Wasn't the novel, "novel" once?
I'd be more interested in updating the novel content. Form will follow
(see the 1960s "New Wave" of SF, especially Michael Moorcock's "Jerry
Cornelius" short stories).
>> it wouldn't be what it is without its history, but the very history
>> prevents
>> it from being recast into what you want to create next.
>
> You could probably say the same thing about painting and you'd
> probably be
> wrong.
Indeed. Ignorance is bliss for the producer but not the consumer.
Uninformed production tends to provincialism. Refusal requires that you
know what you're refusing, and rebellion requires that you know what
you're rebelling against. Etc.
> Crack watercolor ice cubes onto the canvas; wait till they melt and
> make
> pretty designs. There you go: a non-determinant painting, given a set
> of
> rules that can be adjusted (for example, temp of the room), just like
> any
> little Flash animation toy.
Cool!
> So what's your point? No more interesting poems? Poop.
> If you say nothing is left to be done with something, something new
> will be
> done with it; just like your weeds.
The idea that everything has been done has been done. It requires an
extraordinary presumption of ultimacy on the part of one's taste. The
idea of the exhaustion of <insert form here> is a reaction to a
specific set of post-Second-World-War conditions that can only now hold
as affectation or unconsidered dogma.
But it fills essays, as it has for decades.
- Rob.