FLUXLIST: ALERTE: VIRUS DETECTE DANS UN MESSAGE ENVOYE PAR owner-freebsd-security@FreeBSD.ORG(fwd)
Voila, lets see what the robots do more.. -- Forwarded message -- Date: Thu, 2 Nov 2000 08:43:56 +0100 From: [EMAIL PROTECTED] To: [EMAIL PROTECTED], [EMAIL PROTECTED], [EMAIL PROTECTED] Subject: ALERTE: VIRUS DETECTE DANS UN MESSAGE ENVOYE PAR [EMAIL PROTECTED] A L E R T E V I R U S Notre système de détection automatique anti-virus a détecté un virus dans un message qui vous a été envoyé par Peter Wagner [EMAIL PROTECTED]. La distribution de ce message a été stoppée. Veuillez vous rapprocher de l'émetteur Peter Wagner [EMAIL PROTECTED] pour régler avec lui le problème. *** V I R U S A L E R T Our anti-virus system has detected a virus in an email sent by Peter Wagner [EMAIL PROTECTED]. We have stopped the delivery of this email. We invite you to contact Peter Wagner [EMAIL PROTECTED] to solve the problem. To Unsubscribe: send mail to [EMAIL PROTECTED] with "unsubscribe freebsd-multimedia" in the body of the message
FLUXLIST: US PRESIDENT AND FBI SECRETS =PLEASE VISIT = (http://WWW.2600.COM)= (fwd)
-- Forwarded message -- Date: Thu, 2 Nov 2000 09:34:51 - From: Peter Wagner [EMAIL PROTECTED] To: FreeBSD List [EMAIL PROTECTED] Subject: US PRESIDENT AND FBI SECRETS =PLEASE VISIT = (http://WWW.2600.CO M)= VERY JOKE..! SEE PRESIDENT AND FBI TOP SECRET PICTURES.. DOMEO.JPG.vbs
Re: FLUXLIST: A._S.L.O.T.H.
Hi Aaron, Interesting text. Is art always play? Would it be possible to see the whole text (uncut)? Actually I'd forgotten about Bob Black and his call for the ludic revolution in "The Abolition of Work"...it's the best thing he ever wrote I think. Many have theorised against work. Bertrand Russell wrote a great deal against work, or more specifically against wage slavery..arguably not all work is of this form. Also Paul Lafargue's classic "The Right to be Lazy" extols the virtues of chilling out for a living...of course in those days scrounging from your friends was more socially acceptable but. Interestingly Fluxus extols hard work as a means to an end. Maciunas considered work important to fund the art projects carried out in one's "leisure time". cheers, Sol.
Re: FLUXLIST: A._S.L.O.T.H.
Sol wrote, in part: Maciunas considered work important to fund the art projects carried out in one's "leisure time". I read recently Frank Zappa's advice on being a composer; the last instruction was along the lines of "Get a part-time job so you can afford to do this more often." I lucked out -- the barter arrangement for my studio rent entails me being *physically* in my studio for a few hours at the same time every morning, and answering the phone for 2 small and not very busy businesses when it rings. So when I'm not answering phones, I'm able to do whatever I like. My mother visited me recently, and we were both in the studio one morning -- I was making her a pin for her trip home, using matboard, glue, glitter, a chinese fortune cookie fortune and bright colored acrylics. She was not feeling well, and was curled up in a chair drinking tea. As I went back and forth between the work table and fetching supplies, she made a disgusted noise and said, "I thought you *worked* up here!" Melissa Melissa McCarthy Hours: whimsical or by appointment Adult, maybe; grown-up, never! [EMAIL PROTECTED] _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: FLUXLIST: US PRESIDENT AND FBI SECRETS =PLEASE VISIT =(http://WWW.2600.CO M)= (fwd)
Well, Ken would have printed it, anyway, it contains indeed some script, that may infect, but I think it isnt dangerous. H.
Re: FLUXLIST: halloween usa
The sight of Allen's nose as a face certainly sacres me! -Don _ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com.
Re: FLUXLIST: Fwd: Bush making Dan Quayle look smart (fwd)
-- Forwarded message -- IF YOU REALLY LISTENED TO THE DEBATES Jim Lehrer: Welcome to the second presidential debate between Vice President Al Gore and Gov. George W. Bush. The candidates have agreed on these rules: I will ask a question. The candidate will ignore the question and deliver rehearsed remarks designed to appeal to undecided women voters. The opponent will then have one minute to respond by trying to frighten senior citizens into voting for him. When a speaker's time has expired, I will whimper softly while he continues to spew incomprehensible statistics for three more minutes. Let's start with the vice president. Mr. Gore, can you give us the name of a downtrodden citizen and then tell us his or her story in a way that strains the bounds of common sense? Gore: As I was saying to Tipper last night after we tenderly made love the way we have so often during the 30 years of our rock-solid marriage, the downtrodden have a clear choice in this election. My opponent wants to cut taxes for the richest 1 percent of Americans. I, onthe other hand, want to put the richest 1 percent in an iron clad lockbox so they can't hurt old people like Roberta Frampinhamper, who is here tonight. Mrs. Frampinhamper has been selling her internal organs, one by one, to pay for gas so that she can travel to these debates and personify problems for me. Also, her poodle has arthritis. Lehrer: Gov. Bush, your rebuttal. Bush: Governors are on the front lines every day, hugging people,crying with them, relieving suffering anywhere a photo opportunity exists. I want to empower those crying people to make their own decisions, unlike my opponent, whose mother is not Barbara Bush. Lehrer: Let's turn to foreign affairs. Gov. Bush, if Slobodan Milosevic were to launch a bid to return to power in Yugoslavia, would you be able to pronounce his name? Bush: The current administration had eight years to deal with that guy and didn't get it done. If I'm elected, the first thing I would do about that guy is have Dick Cheney confer with our allies. And then Dick would present me several options for dealing with that guy. And then Dick would tell me which one to choose. You know, as governor of Texas, I have to make tough foreign policy decisions every day about how we're going to deal with New Mexico. Lehrer: Mr. Gore, your rebuttal. Gore: Foreign policy is something I've always been keenly interested in. I served my country in Vietnam. I had an uncle who was a victim of poison gas in World War I. I myself lost a leg in the Franco-Prussian War. And when that war was over, I came home and tenderly made love to Tipper in a way that any undecided woman voter would find romantic. If I'm entrusted with the office of president, I pledge to deal knowledgeably with any threat, foreign or domestic, by putting it in an iron clad lockbox. Because the American people deserve a president who can comfort them with simple metaphors. Lehrer: Vice President Gore, how would you reform the Social Security system? Gore: It's a vital issue, Jim. That's why Joe Lieberman and I have proposed changing the laws of mathematics to allow us to give $50,000 to every senior citizen without having it cost the federal treasury a single penny until the year 2250. In addition, my budget commits $60 trillion over the next 10 years to guarantee that all senior citizens can have drugs delivered free to their homes every Monday by a federal employee who will also help them with the child-proof cap. Lehrer: Gov. Bush? Bush: That's fuzzy math. I know, because as governor of Texas, I have to do math every day. I have to add up the numbers and decide whether I'm going to fill potholes out on Rt. 36 east of Abilene or commit funds to reroof the sheep barn at the Texas state fairgrounds. Lehrer: It's time for closing statements. Gore: I'm my own man. I may not be the most exciting politician, but I will fight for the working families of America, in addition to turning the White House into a lusty pit of marital love for Tipper and me. Bush: It's time to put aside the partisanship of the past by electing no one but Republicans. Lehrer: Good night. Author: Ginny Stein, South East Asia correspondent, Australian Broadcasting Corporation Ph: w: 662 652 0597 Mobile: 661 824 5834 Email: [EMAIL PROTECTED]
Re: FLUXLIST: Take offense? That's intriguing. Over what? That'san interesting idea -
That was very good Pez! What was the source? cecil "narvis ...pez" wrote: "in the near future, plans may be developed which take their cue from games and atlhetics, where the regulations provide for a variety of moves that make the outcome always uncertaint. a score might be written, so general in its instructions that it could be adapted to basic types of terrain such as oceans, woods, cities, farms,; and to basic kind of performers such as teenagers, old people, children, matrons, and so on, including insects, animals and the weather. this could be printed and mail-ordered for use by anyone who wanted it. greorge brecht has been interested in such posibilities for some time now. his sparse scores read like this: DIRECTION Arrange to observe a sign indicating direction of travel. ¬ travel in the indicated direction travel in another direction "but so far they have been distributed to friends, who perform them at their discretion and without ceremony, certainly they are aware of the pholosophic allusions to zen buddhism, of the subtle wit and childlike simplicity of the activites indicated. most of all, they are aware of the responsability it places on the performer to make something of the situation or not. as we mentioned before in connection with another of brecht's pieces, this implications its the most radical potential in all of the work discussed in this book. beyond a small group of initiates, there are few who could derive pleasure from going ahead and doing them without self-cosciousness. in the case of those happenings with more detailed instructions or more expanded action, the artist must be present at every moment , directing and participating , for the tradition is too young for the complete stranger to know what to do with such plans if he got them." (alan kaprow) At 10:16 am -0600 1/11/00, cecil touchon wrote: Three Aqueous Events ice water steam George Brecht 1961 That the simplicity of it causes literally any action that includes these three states of water to be a variation on his work. That's kind of like staking off wilderness, one stake in each of its four corners, and saying that because you have placed these four stakes anything that happens within them is trespassing. Hogwash! -- ...0.. Join the Collage Poetry group mailto:[EMAIL PROTECTED] a list for posting and reading poetry created in a constructive manor like a collage. ...0..
Re: FLUXLIST: Take offense? That's intriguing. Over what?
Oh yes, that was the... Right To Remain Silent Event Steal something rediculous like somebody's gate wait for police to show up remain silent no matter what from then on. Cecil Touchon Nov. 2, 2000 Roger Stevens wrote: ah, but the police then appeared and the man found himself a good lawyer... Yes but Roger was talking about the Take Gate Event. That could have been in a truck... That's why Roger was sure not to say anything or it would have escalated to the Take Of/f/en(s/c)e Event. Yes... Now let me see, the score was something like Take Gate - Take Of/f/en(s/c)e Event remove gate put in truck if owner take offense take off fence load in taxi If owner remains silent, only take gate Cecil Touchon 12:48pm Nov.1, 2000 Patricia wrote: Dear Mr. Steven: I heard about that fence event, and, as far as I know, he didn't drive a truck he drove a taxi. Roger Stevens wrote: Hi, A couple of years ago I got home from work to find a huge, muscular and rather rough-looking man unscrewing my garden gate. I watched as he put it on the back of his pick-up truck. I didn't say anything to him in case he took offence
Re: FLUXLIST: A._S.L.O.T.H.
Interestingly Fluxus extols hard work as a means to an end. Maciunas considered work important to fund the art projects carried out in one's "leisure time". cheers, Sol. Very true Sol. (and thanks for the additional resources) But then the art itself wasn't considered "work". Besides, how much did Maciunas really represent what every Fluxus artist felt and practiced? It's an interesting problem. Can art be only play if we need to make a living? Do we live on the backs of those who do "work"? As a buddhist, I've asked this about buddhist practice as well. When monks and nuns rely on lay people to survive, do they ensure that not all people access an enlightened path? But A._S.L.O.T.H. is trying to resist in some way the whole work/play dualism. It isn't proposing inactivity. I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Aaron
Re: FLUXLIST: A._S.L.O.T.H.
For me the ideal is to do what one would do as one's leisure in such a way that is becomes one's work or at least appears to. That's what I do and have been doing for ten years now with great success. I use the idea of work - schedule, dedicated space, business technique etc. - to fund myself and too give the appearance of working since so many need to know that what you do resembles work. If you appear to be working, almost everyone respects that what you are doing with your day in the privacy of your dedicated space (studio) is work even though they have no idea - because they are working so hard - if what you are doing is working or not. My wife has come to suspect that I may not be working because she has noticed a disproportionate amount of time dedicated to the computer where, she is sure, there is no product being made and thus no money being earned but I assure her that in fact I am working. I tell her it is self promotion or research or whatever comes to mind that sounds work like. In my studio I only have a computer line and never give out the number so no one can call me. I just let calls collect on my answering machine in my apartment and occasionally review them and call galleries etc. when I am ready to have a break from my leisure. I do 'take care of business' promptly when needed which helps to keep myself funded and maintain the appearance of working and gives a little impetus now and again. I have, at times gotten confused and thought I was working and usually my art suffers deeply for that delusion so I have placed a statement in my studio to help remind me if what my program is. MAKE WHATEVER ART THAT YOU WANT, AS MUCH AS YOU WANT IN ANY MANOR OR STYLE THAT YOU WANT. FOLLOW YOUR OWN IMPULSES, BE TRANQUIL, DO WHATEVER. This helps me not be too self critical or self involved or worried about what others make of what I am doing. I figure to just make lots and lots of art - like I like to do - and then fashion shows out of whatever I have when the shows come up. I have been following this plan for a couple of years now, inspired by Picasso, to great effect except that I jack around on the computer too much. It is too much like work so I am considering cutting back on the computer a bit though I love it. There is a need, especially in leisure for balance and self control since you have few controls imposed on you from an outside source. Otherwize your life - when you live it however you wish from morning to night as I do - can become a prison of your own lack of self direction. cecil Sol Nte wrote: Hi Aaron, Interesting text. Is art always play? Would it be possible to see the whole text (uncut)? Actually I'd forgotten about Bob Black and his call for the ludic revolution in "The Abolition of Work"...it's the best thing he ever wrote I think. Many have theorised against work. Bertrand Russell wrote a great deal against work, or more specifically against wage slavery..arguably not all work is of this form. Also Paul Lafargue's classic "The Right to be Lazy" extols the virtues of chilling out for a living...of course in those days scrounging from your friends was more socially acceptable but. Interestingly Fluxus extols hard work as a means to an end. Maciunas considered work important to fund the art projects carried out in one's "leisure time". cheers, Sol. -- ...0.. Join the Collage Poetry group mailto:[EMAIL PROTECTED] a list for posting and reading poetry created in a constructive manor like a collage. ...0..
Re: FLUXLIST: A._S.L.O.T.H.
[EMAIL PROTECTED],.Internet writes: I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Aaron - can you send me a copy of the entire doc at [EMAIL PROTECTED], thanks. . . . On the subject of Fluxus and play this is a very important point both for Fluxus as a historical entity and for those who seek to either perpetuate it or expand/extend it. One of my favorite books on this subject, that is on play, is the text by Peter Carse titled Finite and Infinite Games - it is available in a 4.00 paperback edition and a very quick read that is full of lots of thought provoking and insightful ideas - and I highly recommend it to all. Owen
Re: FLUXLIST: Take offense? That's intriguing. Over what?
Aha! But that's no defence is it? Oh yes, that was the... Right To Remain Silent Event Steal something rediculous like somebody's gate wait for police to show up remain silent no matter what from then on. Cecil Touchon Nov. 2, 2000 Roger Stevens wrote: ah, but the police then appeared and the man found himself a good lawyer... Yes but Roger was talking about the Take Gate Event. That could have been in a truck... That's why Roger was sure not to say anything or it would have escalated to the Take Of/f/en(s/c)e Event. Yes... Now let me see, the score was something like Take Gate - Take Of/f/en(s/c)e Event remove gate put in truck if owner take offense take off fence load in taxi If owner remains silent, only take gate Cecil Touchon 12:48pm Nov.1, 2000 Patricia wrote: Dear Mr. Steven: I heard about that fence event, and, as far as I know, he didn't drive a truck he drove a taxi. Roger Stevens wrote: Hi, A couple of years ago I got home from work to find a huge, muscular and rather rough-looking man unscrewing my garden gate. I watched as he put it on the back of his pick-up truck. I didn't say anything to him in case he took offence
Re: FLUXLIST: A._S.L.O.T.H.
I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Please do send it directly to me... [EMAIL PROTECTED] Thanks. But then the art itself wasn't considered "work". Well the key to exploring these issues is whether work = wage slavery or not. I believe certain forms of art can become standard forms of wage slavery...for instance when one starts applying for grants based on work you think is likely to get a grant rather than work that you have a passion for doing. It's an interesting set of issues you've brought up Aaron. I shall reply further tomorrow ... cheers, Sol.
Re: FLUXLIST: A._S.L.O.T.H.
hi aaron, please send me a copy, will i be able to read it on my mac? the subject of work is an interesting one for the artist; so often i feel that people think i'm playing, which is true, however they don't say it in a nice way but infer that their endeavors are much more worth while since they get paid to do it. also what i do is not always play...sometimes it is too difficult to be called that even by me, but i like it best when it really feels like play and should probably stop and watch the birds when it isn't. bye, carol Aaron Kimberly wrote: I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Aaron -- carol starr taos, new mexico, usa [EMAIL PROTECTED]
Re: FLUXLIST: A._S.L.O.T.H.
yes me too! cecil Sol Nte wrote: I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Please do send it directly to me... [EMAIL PROTECTED] Thanks. But then the art itself wasn't considered "work". Well the key to exploring these issues is whether work = wage slavery or not. I believe certain forms of art can become standard forms of wage slavery...for instance when one starts applying for grants based on work you think is likely to get a grant rather than work that you have a passion for doing. It's an interesting set of issues you've brought up Aaron. I shall reply further tomorrow ... cheers, Sol. -- ...0.. Join the Collage Poetry group mailto:[EMAIL PROTECTED] a list for posting and reading poetry created in a constructive manor like a collage. ...0..
FLUXLIST: Svjetlana Mimica/Mail Art (fwd)
-- Forwarded message -- Date: Sun, 05 Nov 2000 13:29:11 +0100 From: boek861 [EMAIL PROTECTED] To: Vesna Milicevic [EMAIL PROTECTED] Subject: Svjetlana Mimica/Mail Art A//INGLES B//ESPAÑOL A// INTERNATIONAL MAIL ART PROJECT Theme: THE VILLAGE OF STARS Size: FREE Deadline: AUGUST 2001 No return, documentation to all participants Send your mail art to: SVJETLANA MIMICA M.GETALDICHA 5 21000 SPLIT CROATIA B// PROYECTO INTERNACIONAL DE MAIL ART TEMA: LA ALDEA DE LAS ESTRELLAS MEDIDAS: LIBRE FECHA LIMITE: AGOSTO DEL 2001 NO DEVOLUCION Y DOCUMENTACION A TODOS LOS PARTICIPANTES ENVIA TU OBRA A: SVJETLANA MIMICA M.GETALDICHA 5 21000 SPLIT CROATIA --- http://www.fut.es/~boek861
FLUXLIST: finally, the site is updated and we are featuring: ||||||TAM TALKS with GH HOVA
(apologies for cross-posting) finally, the site is updated and we are featuring: ||TAM TALKS with GH HOVAGIMYAN | http://alternativemuseum.org/home.html In this RealAudio Video by Lee Songe Tam Monitor editor Cristine Wang talks to media artist GH Hovagimyan at his home + studio in tribeca...covers his ongoing collaborative project "SoaPOPera for Laptops", with Peter Sinclair, collaborative work with Gordon Matta Clark, and 112 Greene Street Workshop (the 1st alternative space in the united states)...(part 1) -- -- TAM TALKS is an ongoing series of interviews and visits with artists working in varied media, and appears as part of the New Media Initiatives of The Alternative Museum. TAM MONITOR is a bi-monthly electronic journal of contemporary art. Lee Songe is an independent filmaker whose earlier work: "Echo Off" was featured at the Anthology Film Archive's New Filmaker Series
FLUXLIST: A._S.L.O.T.H. MANIFESTO
"Art should problematize popular relationships: work/play, usefulness/uselessness, public/private, engaged/dis-engaged etc. For example, art creates tension where it is both commodity (valuable) and non-work (useless play). Art then, does not escape capitalism, replacing it with a powerless utopia, but can problematize it with a continuous re-negotiation of its power. Art has the potential to be a constant thorn in the side of the status quo and, above all, to have enormous fun while being there." Quote from A._S.L.O.T.H. MANIFESTO Question #1 So did you write this document Aaron? some comments/questions Why should it problemize? And to whom would it become a problem? Where's the tension between commodity and "useless play"? It can only be a commodity when this useless play is happening within a comodity driven society. I think the real tension is when EVERYONE is engages in useless play and there is no way to sell, trade or barder your objects because nobody has anything except their own useless objects to trade you and we all eventually starve to death (which is a possible solution for regaining a balance in the world.) To be useless (engage in useless activity - I am not sure I would place art in any form in this catagory) and to aspire toward revolution or power do not go hand in hand. To be useless means to have no value/use to others which can be exploited. The best example I can think of is the old story (Taoist? Zen?) of the old guy who sits under an old tree who comments that the best thing is to be like the scraggily old tree that has so many knots and the wood is so poor that no carpenter ever cut it down due to being useless, thus it has its own life and lives to an old age due to its 'uselessness' to others. Its uselessness preserved it from harm. The most potent form of revolution is changing one's self without regard of others' actions or surrounding conditions. Thus, the pursuit of the goals espoused by s.l.o.t.h. , it seems to me, are strictly individual and should not encourage group effort or group support. What would then constitute the desired change? Toward what would one aspire if anything that would be worth the bother of changing one's self? Once one has disengaged one's self from 'work' and livelihood, what then does one do with one's time? I already know the "whatever one want's" angle. I mean more specifically, what is worth doing. What is worth engaging one's self in? What is worth aspiring toward? I think the model of the sufi dervish is a good example of someone who has withdrawn from work. Then there's the Buddhist idea of equinimity or looking on all things with the same indifference, work, play, making money, not making money, whatever. As I said in a previous post, I basicly live like this I think but I don't especially like being in abject poverty so I do devise ways of working which allow me to make money. I don't ever try getting money from sources which do not directly exchange one thing for something of mine based on the other's desires. In short, people desire art, some of them desire my art, I do not mind fulfilling that desire by them paying for the art which helps to reenforse the value of their desire for art. I do not seek goverment grants, jobs, etc, but live on "God's good graces" as they say and do not directly engage in any form of work with the direct intention of reward. The reward part is out of my hands as I do not directly participate in the sale of my works other than to make them available to those who do wish to sell them. I personally believe that there are spiritual forces at work that somehow ensure that I (and my family that I support) are provided for so long as I leave myself in a state of dependance and do not attempt to provide for myself by my own hand. The "give us this day our daily bread" concept ( which also includes the rent art supplies, money for clothes etc.). Interesting topic which I would like to hear some PRACTICAL discussion on. That is to say, a discussion of the idea as it is practiced. Cecil
Re: FLUXLIST: A._S.L.O.T.H.
Cecil: I agree/relate sooo much with what you are saying here. I use, what could easily seem to others, a complicated process based on chance operations concerning the projects that I'm working on and the time (incl. *amount* of time) in which to do these things. So, I therefore create a *game* situation whereby I, most of the time, don't feel myself bogged down in *work*. The only overlap problem that I have is shutting my mind off when it comes time for sleep - often middle-of-the-night thoughts get me out of bed, but I try not to start working again at that time, but, rather, grab some type of reading material to get me back into sleep-mode. This YToyK year of new technology buys has kept me extra busy in the sorting-out dept. and little computer has had to be ignored in order to get "REAL"(?) work/play done - tho', i guess, infoknowledge thru others' ideas can be "real" too! R = 'It takes a while, but ones your ears adjust to the subtleties and shades of Asano's rich palette, feedback never sounded so sweet'. (Kenneth Goldsmith, Pulse!) __ Do You Yahoo!? From homework help to love advice, Yahoo! Experts has your answer. http://experts.yahoo.com/
Re: FLUXLIST: Take offense? That's intriguing. Over what?That'san interesting idea -
"excerpts from 'assemblages, environments happenings" alan kaprow in "happenings and other acts" a compilation of texts edited by mariellen r. sandford -routledge- 1995 first published p. 239-240 chao ...pez At 09:29 am -0600 2/11/00, cecil touchon wrote: That was very good Pez! What was the source? cecil "narvis ...pez" wrote: "in the near future, plans may be developed which take their cue from games and atlhetics, where the regulations provide for a variety of moves that make the outcome always uncertaint. a score might be written, so general in its instructions that it could be adapted to basic types of terrain such as oceans, woods, cities, farms,; and to basic kind of performers such as teenagers, old people, children, matrons, and so on, including insects, animals and the weather. this could be printed and mail-ordered for use by anyone who wanted it. greorge brecht has been interested in such posibilities for some time now. his sparse scores read like this: DIRECTION Arrange to observe a sign indicating direction of travel. ¬ travel in the indicated direction travel in another direction "but so far they have been distributed to friends, who perform them at their discretion and without ceremony, certainly they are aware of the pholosophic allusions to zen buddhism, of the subtle wit and childlike simplicity of the activites indicated. most of all, they are aware of the responsability it places on the performer to make something of the situation or not. as we mentioned before in connection with another of brecht's pieces, this implications its the most radical potential in all of the work discussed in this book. beyond a small group of initiates, there are few who could derive pleasure from going ahead and doing them without self-cosciousness. in the case of those happenings with more detailed instructions or more expanded action, the artist must be present at every moment , directing and participating , for the tradition is too young for the complete stranger to know what to do with such plans if he got them." (alan kaprow) At 10:16 am -0600 1/11/00, cecil touchon wrote: Three Aqueous Events ice water steam George Brecht 1961 That the simplicity of it causes literally any action that includes these three states of water to be a variation on his work. That's kind of like staking off wilderness, one stake in each of its four corners, and saying that because you have placed these four stakes anything that happens within them is trespassing. Hogwash! -- ...0.. Join the Collage Poetry group mailto:[EMAIL PROTECTED] a list for posting and reading poetry created in a constructive manor like a collage. ...0..
Re: FLUXLIST: A._S.L.O.T.H. MANIFESTO
i think this discussion-- it betrays too much anxiety somehow to me is having too little faith in the work maybe i am just getting to be old idiot anymore i think the only questions with art are the practical ones relations among the materials how one works back and forth with them and they with on finding not searching the concrete -- ways the concrete opens the materials in themselves already so vast dense fluid so many so much and deep ongoing "before one" be for one--"already here all the time" rhythms forms letters shapes colors movements energy made visible plenty enough questions and materials to work with (for example recent inspiring and useful, enlightening discussion sharing methods of making transfers-- changing from lighter fluid to acetone and of the materials methods the different kinds of papers to use--so many--and how changed with time-- whole new worlds of possibilities! and sharing of knowledges leaned through practice by different makers, workers-- all this is practical the rest becomes beside the point art can be made with anything at anytime learning from the anything leads to particular things learning from anytime leads to learning discipline learning things and time forms and rhythms i live in continual chaos so what--from things and time arranngements are found among the materials rhythms and forms "it is not the elements which are new, it is the order of their arrangement"--Blaise Pascal is always best to be simple, which means truly thinking with materials, the concrete--and from these finding the complexities, the openings, what it is that one may make with the materials with the forms and rhythms "with" them--together i do think the rest becomes anxiety -- and is disruptive distracting and--discourse there are no theories without practice and with practice--is action, not "after the fact" or "pre-determined" not set limits but limits one is among which provoke,challenge, stimulate-- the things the moments the materials the rhythms the forms light is simultanenously particle and wave materials and work are particulars, discrete, concrete --and wave, flowing in time--and with light, energy -movements working together is "an exchange"-- as Don Cherry the jazz musician great trumpet player composer player of so many instruments reader of so many notations-- wd say: "only a truly disciplined musician may play Free Jazz" practice--and materials the study of sidewalk cracks--leads to new scripts--arrangements--scorings--improvisations--with practice Mayakovsky in HOW ARE VERSES MADE noting how a poet works continuously--and every occaision every street corner every sound every word is material to be constantly worked with with the rhythms the forms-- choice and "chance"-- out of chaos, noise--arises music "the attention and the care" actually in the early 1930s the great painter and ally with Futurist poets Zaum poets ad worked with Mayakovsky on i think was 1912" opera-- Malevich, Kasmir Malevich wrote an essay on sloth in a sense ironic as at the time so much emphasis on WORK and SOCIALIST REALISM --i.e.--the end in Russia of the great experimental arts and poetries-- the 'SLOTH' of abstraction, imagination, etc--Transrational Zaum, the end of Mayakovsky and so many others--literally--or their silence-- that subversive ability of the materials simple as "white square on a white square" to elude materialism while being immensely practical when being practised-- "Creation survives in fragments under the ruins of a world for which we can no longer find expression" (W. Weidle, qtd Hans Richter, DADA ART AND ANTI-ART 214) the fragments are the materials found "laying about"- from which arrangements of elements are made with forms, rhythms-- ruins for which no longer expressions--made into something other--presenting arrangements of lost expressions in "new found" "orders'--"speaking--showing--telling--singing--dancing--living--to be moved among-- a great workshop is mail art--as has themes, sizes, deadlines-- and is non commercial non juried non returned--
Re: FLUXLIST: A._S.L.O.T.H. MANIFESTO
I think this well speaks to YOUR sensibility which sounds very generous but does not allow that there are many others, other ways and focusses towards art, or what we are getting at here as meaning "art" or meaning "meaning"! when you speak of practicalities isnt' that what it comes down to, when each artist person is working with their particular possibilities/talents/means/leanings so that if one might wish to enter into the "abstract" --- that is just as fine an avenue as "concrete" and off the street? could even refer to the same end, simply from an other view I don't think it is so easy for everyone, as sometimes you feel it should be --- and to call grappling with dilemmas like this simply a sort of fretting "anxiety" well, just adds another fret to MY anxiety!! trying to "get it" NBB
FLUXLIST: letter for my
LAbas mano zydrasis drauge. Tikiuosi, kad tau dar yr. Kadangi taip, tai va. Juk rytmeèio breksna, tau gali mai¹yti, aaa! Ne koks tai lapu snaresys. Atleisk, kad neatejau i pasimatyma, juk ir man jo reikejo. Vakar vakaro tustinimasis man primine, kaip ir tau, juk ta pati anga. Su meile tavo vagina. Viktor Galina 2000.06.06 if somebody wants for translation or more poems of Viktor Galina write to [EMAIL PROTECTED] p.s.Our friend George Maciunas spoke in this language.
RE: FLUXLIST: A._S.L.O.T.H.
hi aaron. i'm interested. i'll be glad if you send that word attachment to: [EMAIL PROTECTED] thank you. ceyda I probably shouldn't post the entire A._S.L.O.T.H. text. It's quite long, but I can send it directly to whoever is interested. (As a MS Word attachment preferably) Aaron
Re: FLUXLIST: Take offense? That's intriguing. Over what?
There was meSorry. Could you give me your mail address, I'll send you your gate back. sincerely yours, arturas - Original Message - From: Roger Stevens [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, November 01, 2000 6:20 PM Subject: Re: FLUXLIST: Take offense? That's intriguing. Over what? Hi, A couple of years ago I got home from work to find a huge, muscular and rather rough-looking man unscrewing my garden gate. I watched as he put it on the back of his pick-up truck. I didn't say anything to him in case he took offence _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
