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: http://www.c404.tv/
On Wednesday, December 01, 2004, at 11:06AM, Kristina Maskarin <kristina_tina@yahoo.com> wrote:
>Is Noise still noice depending on the form/ state?
Which is heavier; a pound of feathers or a pound of lead?
Noise is used extensively to make recognisable textures in the shaders used in 3D rendering for films and now games. The brain uses neural noise to make sense of a noisy environment.
>Are we talking about form aestethics here, or deciding on forms?
IMHO How is this different? Surely if one decides that something is a form, or that a form should take a particular form, that is an aesthetic judgement.
>Sure, each state has its values/ rules and beauty.
>Chaos as a value free mode form ( not value-less!) is just another state.
Yes, randomness (which I know isn't chaos, but it's useful as an example of an over-profundised idea in techno-art) is a chosen mechanism.
>The question is not if water is still water if frozen, but what you want to do with it. And thats more scientific than artiful. Or?
I like it in coke. Or whisky. But not whisky and coke. Yuck. That seems more aesthetic than scientific.
- Rob.
--
http://www.robmyers.org/art
>Is Noise still noice depending on the form/ state?
Which is heavier; a pound of feathers or a pound of lead?
Noise is used extensively to make recognisable textures in the shaders used in 3D rendering for films and now games. The brain uses neural noise to make sense of a noisy environment.
>Are we talking about form aestethics here, or deciding on forms?
IMHO How is this different? Surely if one decides that something is a form, or that a form should take a particular form, that is an aesthetic judgement.
>Sure, each state has its values/ rules and beauty.
>Chaos as a value free mode form ( not value-less!) is just another state.
Yes, randomness (which I know isn't chaos, but it's useful as an example of an over-profundised idea in techno-art) is a chosen mechanism.
>The question is not if water is still water if frozen, but what you want to do with it. And thats more scientific than artiful. Or?
I like it in coke. Or whisky. But not whisky and coke. Yuck. That seems more aesthetic than scientific.
- Rob.
--
http://www.robmyers.org/art
Re: embedding <img> in email
On 29 Nov 2004, at 17:26, steve.kudlak@cruzrights.org wrote:
> Question, does anyone here use Linux for image and picture
> work and if so what tools do they reccommend?
Gimp and Inkscape. Inkscape is based on the Sodipodi codebase and adds
lots of features. I'm back to Illustrator on mac now, though, because
it does things I need that Inkscape won't do.
- Rob.
> Question, does anyone here use Linux for image and picture
> work and if so what tools do they reccommend?
Gimp and Inkscape. Inkscape is based on the Sodipodi codebase and adds
lots of features. I'm back to Illustrator on mac now, though, because
it does things I need that Inkscape won't do.
- Rob.
Re: Can company logos be used in artwork?
I am not a lawyer, this is not legal advice.
On 25 Nov 2004, at 20:21, patadeperro wrote:
> Hi, I am making an animation of the war in colombia and would like to
> include about 20 logos from transnationals. Is this legal -
No. The logos are trademarks and you are using them without permission.
> protected by the fact that its "art" or not?
No. There's no defense of using something for art.
> If not - can I protect myself by altering the logo - for example
> changing a letter?
No. It's still a derivative work of the logo.
> Do these companies care anyway?
Yes. They are getting increasingly control-freaky about this kind of
thing. :-(
> Probably depends on extent of coverage?
It depends on whether their lawyers see it.
> I remember about a year ago the case of an art group and their being
> sued for their use of the NIKE logo - I rember that they won the
> case, but dont remember the details- what was their name?
http://www.0100101110101101.org/texts/nike_prelease4-en.html
I think it depends on whether you can afford the time and the costs of
defending a lawsuit.rhiz
- Rob.
On 25 Nov 2004, at 20:21, patadeperro wrote:
> Hi, I am making an animation of the war in colombia and would like to
> include about 20 logos from transnationals. Is this legal -
No. The logos are trademarks and you are using them without permission.
> protected by the fact that its "art" or not?
No. There's no defense of using something for art.
> If not - can I protect myself by altering the logo - for example
> changing a letter?
No. It's still a derivative work of the logo.
> Do these companies care anyway?
Yes. They are getting increasingly control-freaky about this kind of
thing. :-(
> Probably depends on extent of coverage?
It depends on whether their lawyers see it.
> I remember about a year ago the case of an art group and their being
> sued for their use of the NIKE logo - I rember that they won the
> case, but dont remember the details- what was their name?
http://www.0100101110101101.org/texts/nike_prelease4-en.html
I think it depends on whether you can afford the time and the costs of
defending a lawsuit.rhiz
- Rob.
Re: Re: Re: Quotation (was: why so little discussion?)
There was a Creative Commons radio programme called "The Creative Remix" that takes remixing back to classical poetry (the canto).
http://radio.creativecommons.org/
Listening to "Abridged Too Far" I think the difference now is Modernist reflexivity: the remixes are very obviously remixes and the point of them is that they're remixes. There's an interesting compositional negative space aspect to it, but remixes that are rough, ready, skippy and stretchy are "orientating themselves to flatness".
In the case of ATF (which I am getting more from with each listening), there's the problem of camp (pace Sontag) as well. If this is untransformed kitsch it's kitsch, but you can't have knowing kitsch. And if it's transformative it's academic, imperialistic, disenfranchising. Deconstruction is normative.
The sweet spot for all of this would be if the work was sympathetic in some way to its source material and engaged with it to work on the assumptions of the listener. If the source material kept or problematised some context(s). Does ATF do achieve this as music or is it strain-to-hear-it "sound art"?
- Rob.
http://radio.creativecommons.org/
Listening to "Abridged Too Far" I think the difference now is Modernist reflexivity: the remixes are very obviously remixes and the point of them is that they're remixes. There's an interesting compositional negative space aspect to it, but remixes that are rough, ready, skippy and stretchy are "orientating themselves to flatness".
In the case of ATF (which I am getting more from with each listening), there's the problem of camp (pace Sontag) as well. If this is untransformed kitsch it's kitsch, but you can't have knowing kitsch. And if it's transformative it's academic, imperialistic, disenfranchising. Deconstruction is normative.
The sweet spot for all of this would be if the work was sympathetic in some way to its source material and engaged with it to work on the assumptions of the listener. If the source material kept or problematised some context(s). Does ATF do achieve this as music or is it strain-to-hear-it "sound art"?
- Rob.