State
of the Art
Stephanie Britton
"When Kevin asked
me if I thought there was a multimedia sublime I rashly said that
I thought there was. I think it was on the strength of this that
I was invited to take part in this discussion. Even since I have
been in search mode trying to work out a) what the sublime is
anyway, and b) if I knew what it was, how multimedia would fit
the description.
Searching my own brain
the art historical index kept finding images of Von Guerard or
George Caspar Freidrich, which I personally don't find in the
least sublime in the sense of the departed band members, but encouragingly
for this project, I also got some snatches of Peter Callas, Jon
McCormack and Dan Zero together with Jeffrey Shaw, Christa Sommerer
and Toshio Iwai.:
Smells
Like Avant-Pop: An Introduction, of Sorts
Mark Amerika & Lance Olsen
The text of Amerika's eloquent argument for the end of post modernism
and a new avant gard. (331k)
"The best time for the use of these symbols is when naked
feeling sweeps us away, which they then both imitate and embody.
The spleen is the napkin of the inner parts, or violently coursing
blood fixed as under a rigid hinge. Finally, it departs in freedom,
off to sober up the gods. But this point of view will not be shared
by the majority."
from the Alt-X site
The
Road To Graceland
Robert Fripp
1991
.
" Music is a process of uniting
the world of qualities and the world of existences, of blending
the world of silence and the world of sound. In this sense, music
is a way of transformation."
from Mike
Stok's Crimso Archives site
The
Painted Score
Author and source currently unknown
Article about Brian Eno focussing
on the art school he attended and the philosophy of the staff
who taught there.
You are worse than chickens. A chicken
is afraid to step outside of a chalk circle drawn around her.
but at least she can say in her justification that the circle
was drawn by a strange hand. but you have drawn with your own
hands the formula. and now you look at it instead of reality.
Hedendaags
nihilisme : Over de georganiseerde onschuld
(Contemporary nihilism : About organized innocence) (in Dutch)
Bilwet / Geert Lovink
"De klacht tegen de dingen
is dat ze stuk gaan, haperen, uitvallen, raar gaan doen en niet
ongemerkt vervangen kunnen worden. De zekerheid van de ongestoorde
konsumptie is dat er nooit meer iets zal voorvallen. In dit onproblematisch
bestaan is het komfort zo vanzelfsprekend, dat het onopgemerkt
blijft. Het onschuldig bewustzijn wordt gekenmerkt door een benauwde
kleinschaligheid die een universum oproept waarin persoonlijke
irritaties bij het minste of geringste losbarsten: stoplichten,
files en vertragingen, administratieve rompslomp, slecht weer,
bouwlawaai, ziektes, ongelukken, onverwachte gasten en gebeurtenissen
vormen alle een aanslag op het onschuldig bestaan."
form the BILWET site
Silence
David Toop
Extract from Ocean of Sound
Serpent's Tail London 1995
"Music is all around us. If only we had ears. There would
be no need for concert halls if man could learn to enjoy the sounds
that envelop him, for example, at 7th Street and Broadway, at
4 p.m. on a rainy day'..." - John Cage
The cut-up
method of Brion Gysin
William Burroughs
Burroughs on the uses of collage
in writing.
The Electronic
Word: Democracy, Technology, and the Arts (Chapter 4)
(51k)
Richard A. Lanham
The University of Chicago Press 1993
"...Digitizing the arts requires
a new criticism of them. We have it already in the postmodern
aesthetic. The fit is so close that one might call the personal
computer the ultimate postmodern work of art. The Italian Futurists
at the beginning of the century attacked the codex book and its
conventional typography, and in their "Teatro di Variet`" bullied
the silent Victorian audience into interactivity. Duchamp and
Stella exhibited, or tried to exhibit, their celebrated urinal
in order to move the definition of art from the masterpiece to
the beholder. John Cage opened music-making to everyone by converting
everything into a potential musical instrument. The repetition
and variation of motifs drawn from a treasure-house of standard
forms (a routine postmodern rhetorical tactic from Andy Warhol
to Charles Moore) is done by the electronic arts with ridiculous
ease. Electronic interactive fiction finds rehearsals in printed
postmodern fiction..."
from the University of Chicago Press
site
Interview
with Heath Bunting
Tilman Baumgaertel
UK net artist Bunting disucsses
his idea of an "algorhythmic" identity, one which keeps
changing in a way predictable to humans but not to machines.
from the desk.nl
site
On
the Sublime
J.H.Park (?)
A history of the sublime via OCR
software, with comprehensive links to a local copy of the relevant
sections of Victorian Net.
from J.H.Park's
site
Sorcerer of
cruelty
Mary Gaitskill
An article in which Vladimir Nabakov
identifies what could be the sublime : "It is a combined sensation
of having the whole universe entering you and of yourself wholly
dissolving in the universe surrounding you. It is the prison wall
of the ego suddenly crumbling away with the nonego rushing in from
the outside to save the prisoner -- who is already dancing in the
open."
from the SALON
magazine site
Taking
Chances
Philip Galanter
An article and web site on the use of chance operations in art.
A history, some useful links and references.
Nieuwe
media, nieuwe grenzen
Marie-Jose Klaver
a discussion about the Larry Evans case (in Dutch)
Negativland's
Tenets of Free Appropriation
Negativland
" In our society, the media
which surrounds us is as available, and as valid a subject for
art, as nature itself."
from the Negativland
site
A Woman's Guide
to Canine-Human Sex
"Susie"
from the alt.sex site
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