New UK edition of “Lonely Werewolf Girl” in shops now
Graphical perception – learn the fundamentals first
More on the Synthetic Aesthetics residencies
Hacker Conference Calls for Projects and Tech Art
(Link to) The Economics of (Art) Fakes
Lady Gaga – a neccessarily empty posthuman sign
K-Punk didn’t like Burton’s Alice (and I agree with them about RTD’s Who)
“Using a joint project’s servers isn’t SaaS because the computing you do in this way isn’t yours personally. For instance, if you edit pages on Wikipedia, you are not doing your own computing; rather, you are collaborating in Wikipedia’s computing.”
Until I move them to a local gallery, here’s a flicker set of scans of illustrations from the old (pre-1923) National Encylopaedia –
http://www.flickr.com/photos/robmyers/sets/72157614306272022/
Yay.
Open Source Embroidery: Craft and Code
HTTP Gallery
Unit A2, Arena Design Centre
71 Ashfield Road
London N4 1LD
Come and see the show and meet up with lots of extremely excellent people. And me.
Robert Rauschenberg, RIP – Boing Boing
Robert Rauschenberg, a pioneer of multimedia art in the truest sense of the phrase, died last night. He was 82.
Rauschenberg’s work had a massive impact on me when I first arrived at art school. His art was high stakes aesthetics in which either everything was transformed into art or… But it was always transformed into art. Rauschenberg convinced me that freedom was not only possible but worth pursuing in art, and that art could transform any materials while still (or possibly thereby) retaining a link to real life.
Look out honey ’cause I’m using technology
Ain’t got time to make no apology
– Iggy Pop, “Search And Destroy”, sample used on Utah Saints, “Techknowlegy.”
The market, like copyright and art theory, is an ontology of art, or at least some kind of substitute for one.
Conceptualism dematerialized the art object in favour of its theoretical description, an ontology.
The market has similarly dematerialized the artwork in favour of the entities and relationships that it posits, an ontology. How much? When? Who? Where? Who else?
This is an impoverished ontology, the reliance on simple tags, numbers and data from outside of the artwork creates an ontological proxy for the artwork that has very little to do with the artwork qua artwork.
But in any system of relations figures and grounds emerge and gain proportion and composition. And the physical artwork (even for relational works) remains as the grit in the pearl. Either is a point of friction and a possible point of critique. It’s just not clear what of.
Work1852-65, oil on canvasFord Maddox Brown (1821-93)
“she’s a deontological singularity”
