Re: FLUXLIST: a crappy idea
Terrence writes; not a bad idea to listen in. please post the list. thanks T. tark wrote: ok, many of you may think that this is a useless post, so if you don't wanna be bothered be it, delete this.ok-i found this mailing list online, about austrian culture, particularly german influences in it. Maybe we should start forwarding our letters to this list- it has 280 members, but if like 5 of us joined and the list got 5 copies of each fluxlist post maybe... i don't know... i'm sure this has completely ruined any reputation i might've had...just an ideatark
Re: FLUXLIST: Re: fluxus in canada
Terrence writes; Thanks for (Geoff Hendricks) full name and links, Allen and Pauline (Oliveros). The performance I saw was 13 years ago?! Funny it was like I saw it yesterday. I think your post stired my memories of that performance and his telling me about Fluxus. Incidentally Hank Bull of the Western Front was on CBC Television tonight on a program about Chinese Contemporary art here in Vancouver. In speaking of Culture in Canada. Hank said if Montreal is the gateway to Europe; Vancouver was the gateway to the Americas and the Orient. Calling Vancouver Lotus land. Indeed Vancouver has a huge Asian presence and the asian contemporary art is always being featured here. The program was a a sequay to the Asian Modern art gallery that has just opened here. The only one of it's kind in North America. Vancouver's Can/European and Can/Chinese have been influenced by Asian art for some time. http://www.artbeatus.com/ shows strictly Modern Asian arts. They did however have a major show of many works by Jean-Michel Basquiat in 97. " The mission of the gallery is to promote modern Chinese art and at the same time to encourage dialogue between contemporary art of the east and the west. "The circumstances surrounding Basquiat's work are similar to those of many contemporary Chinese artists," says gallery director Sheng Tian Zheng. "His work was initially considered outside the mainstream as it actively challenged an established art world to seek acceptance from the general public." I think the director's reading of Basquiat suspiciously leaves out his very knowing careerism. I have some reservations of contemorary art that is too contemporary or to be fair too fluxus. I mean we have to take a look around ourselves and just act on whatever it is we must act on. I think the art of cultural identity, sexual orientation, politics etc. will last for some time. Its heyday is still with us. I being of Polish and some Austrian heritage haven't really considered my family's background in terms of art/nature except for some installation and photo text of geopolitics. Artists giving way to naturalism rather then falling back on old formulas it the key to culture renewed and not culture revived. Maybe thats why Geoff Hendick's performance stuck in my brain. It just seemed so damn amazing and fresh. Terrence Kosick artnatural get fresh! allen bukoff wrote: Does anyone know of him? He was from NewYork. A tall long haired bearded fellow around 40+ at that time. He did cloud paintings as well if that helps. Geoff Hendricks continues to be a very active artist. He resides in New York City and Cape Breton Island, Nova Scotia, Canada, and teaches at Rutgers University. His brother, Jon Hendricks, is the author of "Fluxus Codex." You can find a couple of internet links for Geoff Hendricks at http://www.fluxus.org/classic/hendricks.html . You can find relatively recent photos of him (no longer wearing long hair or a beard) at http://www.fluxus.org/higgins/pic03.htm , http://www.nutscape.com/fluxus/emily-harvey-gallery/rehearse.htm , and http://www.fluxus.org/matches/ .
Re: FLUXLIST: Re: fluxus in canada
Terrence writes; Apparently they are two of the most productive stores in the western region. The first Vancouver Starbucks then called Il Giornali, One at that location and the other at the Waterfront Seabus Station. The second Robson and Thurow was added a few years later in a newly built very post modern style building. (the other kitty corner is housed in an older brick construction) They decided to go with a black and white logo at that newer location. Don't ask me why they did that but that might be something to further your theory. Maybe primate and I should do a performance drinking coffee wearing t-shirts with logos that say "STARBUCKS PEOPLE" instead of "Starbucks Coffee" and waving to each other from one Starbucks to the other every day for a week till the local news picks it up or untill we get 'mugged' by too much Starbucks coffee. I will start by designing the new STARBUCKS PEOPLE logo. Who knows maybe we will get free coffee to stand there. T. artnatural Rod Stasick wrote: I wonder if Fluxus was in mind when they built TWO Starbucks on the corner of Robson Thurlow... --- primate _ [EMAIL PROTECTED] wrote: Wow a fluxlist member other than I in Vancouver! = http://rostasi.8m.com http://www.forcedexposure.com/artists/hunt.jerry.html Utilizing the blades of technology on the facial hair of imagination
Re: FLUXLIST: Re: fluxus in canada
Terrence writes; sure! Give me a week or two to get the T-shirts together. T. Rod Stasick wrote: Could each one of you take a photo, across the street, of the other one thru each one's window? Rod
Re: FLUXLIST: Re: fluxus in canada
Terrence writes; The problem is propriatory and that we need permission. The exercise would have to be along the lines of professional quality broadcast quality to get them to agree. Just taking a picture of each other from inside the store or at an exterior store can be an issue. I like the gorilla tactic better. Have you tried Starbucks light blends? Their Infusion and Taso teas are great as well. *l* T. primate _ wrote: What about we tape the prepairation of the coffee and the drinking of itintreviews with ppl and the ritual of 'community' that starbucks brings...stir stir stircream2 packets of sugarwe could also kepp track of what we ordered and see if there is a way you can make other ppl drink the same without saying anything to them... nick
Re: FLUXLIST: Still Snowing Still Dreaming (a snowman I should turn to be)
Roger Stevens wrote: what's going to happen to all that other snow will it just melt away or will some archivist with a fridge preserve it? Terrence writes; I do not know thee, but this is brilliant! *l* T.
FLUXLIST: http://www.thehungersite.com/
http://www.thehungersite.com/ Terrence writes; Good day all. If you have a moment please visit the nonprofit hunger site by John Breen. There is a map of the world that indicates, by dimming, a place in the world where someone dies of hunger. Up to 24,000 people, mostly childeren every day! There is a button, (suppored by Corporate sponsors banner ads and links), that you click that will feed a hungry person somewhere in the world. The money is sent to the United Nations World Food Program Please help. Visit there everyday and click to feed! Thanks. terrence kosick artnatural clicks
Re: FLUXLIST: Why?
Terrence writes; On of my most memorable art school classes/teachers at the U of British Columbia was Roy Kyookas's 3 yr. class on studio art communication. It was a 6 unit class. We were to meet once a week. Everyone showed up the first day except Roy. That was it. We later were told by the shop technician that Roy would lead the rest of the teachers to review our studio work. That happened at the end of the year at our 3rd year show. The shop technician told me that roy selected one of my paintings (a realist still-life of personal objects in one of the wooden packing crates I used in my constant apartment jumping as a student) as the best work he has ever see a student do. It pissed off the other teachers because it was not painterly and I was told by a student who dropped out the year before that the unwritten rule was no realism. I was doing expressionism and symbolism but did still life's at home on the sly. I hod about 70 paintings when I graduated. I left half of them there in the studio. The following year students got to see Roy leave the class and come back after smoking a joint. He asked the students to start talking. They apparently ended up spending much time on french theory. That was 86. Serge Guilbaute's class on modern art was better. He was pissed off that there was more than 12 students in his class and insisted that one of us leave the first day. It was very tense and silent in the room. I was really pissed off about that and used to come in befor class after that and smoke a cigar. He was really demanding and wanted original material about certain critical periods of contemporary art history. Some suspected it was material he was looking over for a book to follow his How NY Stole Modern Art. He asked us about our impressions of his book and we discussed mostly american abstract expressionism. I still browse the art books and "find" artists whose work interests me. Flux dada etc. was never taught me. All to fill in the big gaps. One visiting painting professor from the local art school came out to see our work. He stood before a large very symbolic painting of a fire breathing monster clutching a group of screaming people) that hung in the studios. The painting Prof. pointed at it and called it barbarism and left the studio.(I painted in the studio's one summer and I used it at an anti-cruse missle rally as a backdrop for the speakers. It ended up on the front page of the news paper with the mayor in profile. '84). The other student's pretended not to notice it when I was there. It began to bother me and I entered and got it into a local major art show. I was old to submit to a gallery but was rejected due to a few female nudes in my portfolio. They were caricature meant to make fun of pinups. It was not funny to them. I received no connections from my professors to launch my career and they try not recognize me but I always drop the remark that I still paint and am into the computer and email. I consider every little thing or gesture a artistic possibility. My sweet revenge. I am told the non degree Art school, Emily Carr now has mandatory art history. I do know that certain gender taboos exist now at that art school, like it is unkool for a guy to do a nude study of a woman. Some students were calling a few well to do housewives breeders and many kids work hard at styling their wardrobes and are very hip on the latest hot young artists. They do have more opportunities to meet visiting successful artists and are much more enthusiastic. I am told they are switching a more technical aproch so the studen't don't end up waiting on tables or painting houses (like i do) to get by as artists. I think it is nuts not to have comprehensive art history studies even though university departments do specialize one needs to know what the others are doing or have done. I think my art school years were a waist land but at least I was creative and self reflexive on my rudderless education. I think we all need to give art history fluxus talks at local artschools and community centers. Dropping hints on new initiatives would be fun to do. How about coming up with some material/ ideas for that here At least printing a few flyers with url's and posting them on student bullitin boards can be done. I am definitly for that kind of gorilla info drop. terrence kosick artnatural Rod Stasick wrote: --- Sol Nte [EMAIL PROTECTED] wrote: Don, the majority of art teachers that I have met are fairly poorly educated in the arts (or at least anything beyond the mainstream). It's very disappointing... It seems that's the case for the educational system in general... Certainly there have been occasions when I have been pleased to talk to an art lecturer to ask them how they present certain material to students only to find they've never heard of it and start asking me questions. I'm just a computer programmer without 1 art qualification
Re: FLUXLIST: RTMark/Whitney
Terrence writes; I think it is about being recognized for their work in a traditional institution. There is also the issue of being ligitimized? I think they (®ark ) don't care about that too much. I belive they are mostly into getting higher profile for their agitprop. Seems ok to me. They make some good points. Undermining the Idea of getting into the Whitney is funny and they managed to raise funds for their projects. That's cool. I agree the webart could remain as it is but think it also a matter of the webartists "connecting" to the funding that traditional galleries provide. Lets be fair all should get some chance. They are a new media and there is an cultural education element to consider when they showcase this new work at their 'institutional server'. I don't think they are competing for exhibition space as much as painter's and installation artists who's larger works can 'suck' wall and storage space. As a matter of archiving I like the idea that digital art can be erased so easily. It is a cool clean way to recycle art. This is sacrilige in web art circles but as a e-mail performace artist what can I (not) say? Maybe some art is too easy to ignore. I think web art as a kiosk would cause kids at the video play space to protest an get them confused or angery if they were in a gallery and there was no curves or deaths to score. I can see webart as interactive projections in a large space as well someday. off topic; Has anyone done Odor art? I am working on some new work that I call Scent's of Art for the home or gallery. It takes no space at all! Scent rings lightbulbs and secret art oils. Smell the difference! http://www.thehungersite.com/ terrence kosick artnatural takes a deep breath Sol Nte wrote: Thanks Carol for posting this. I have to say that I don't really understand the point of displaying websites on computers in galleries. Yes I think there should be public access machines for people to generally browse the web as well as to view art sites but when you start putting computers in galleries to do it it seems like a waste of the physical space. Artists have enough of a job trying to get gallery space to show traditional physical works without wasting that space to position a computer just like the one people could use in libraries, cybercafes, their own homes in fact anywhere else to view exactly the same content. There is altogether too little space available to display physical artworks to waste it with computers. The web offers an alternative way to display artwork outside of the gallery system, in many ways its power is very similar to mail art's negation of the role of the gallery in presenting art surely these people at the Whitney realise that. Maybe they just want to make sure they don't get accused of ignoring new media, who knows? Also it seems to me that RTMark has done nothing with this other than be controversial for its own sake. Why didn't they just exhibit a link to the hunger site or something like that. To me it says a lot that only 20 pages have been sent in to be displayed via RTMark...that's quite a lack of interest! Maybe more people will send stuff but ultimately the whole thing seems a fairly pointless exercise compared to the somewhat better things that RTMark has done in the past. cheers, Sol.
Re: FLUXLIST: Re: Why?
Terrence writes; This is a good point Heiko. The goodness of the roots of reality and depth of meaning always seems to get boiled out by the constant attendance. Why does everything end up like clichés? If anyone read my earlier post of the reminiscences of art school one could easily surmise it is laziness and convince; "oh yes, This and that has happened so on we go.." It runs though everything about cultural dominance. Has consumer society rendered all our actions to the convince of canned culture? Token acceptance of simple definition is hardly a reward to the lifetimes of work performed by numerous artists who's feelings ran deeper then the next paycheck and did not enter the popularity contest. Art movements like stones polished by the river of time appear only like curious gems easily held aloft in the manicured hands of the clergy. Not at all like a few building blocks they should be. The gestures of celebrated acceptance does not paint the true picture of cultural history. Many hands and hearts build cities upon cities. terrence kosick artnatural www.thehungersite.com/ Heiko Recktenwald wrote: finally read Hugo Ball's Flight Out of Time: A Dada Diary. I was surprised at the depth of sadness directly involved in the movement over I allways think to old style living rooms, from the time before WWi, compared to what Bauhaus etc did. It wasnt changing furnitures alone. Greetings, H.
Re: FLUXLIST: 1) C'mon, Heiko. 2) Footnote to Davidson G.
Ken Friedman wrote: In this, George Maciunas and Charlotte Moorman were both pioneers, colleagues and heroes. And if George was occasionally cranky, look at it this way: if you worked full time much of your life to support the vast range of publications, festivals, etc., that George supported with the earnings from his day job ands free-lance work, you'd occasionally be cranky, too. Terrence writes; Realistically there are few people in the world who would do anything without getting paid. Artists whose work fits the status quo or fits well with agendas that help to sustain the galleries and institutions perhaps labor in their service while their creative engagements are made easier. lucky them. It is as if one is going for a welfare handout when trying for grants. I think it is a necessary cultural business grant. Artists labour for free while the culture eventually benifites and holds the one's who struggled the most in high esteem long after any benefit of formal engagement could have made societal change or enrichment; after the fact of the scene. Wind in your sails or strenuously rowing the journey is rewarding. It is important to recognize valiant efforts who accomplish their aims despite difficulties that can make them curse the tide. Especially when their labours benifite others selflessly. Is that the cultural resistance struggling in the trenches? Vive l'artnatural! terrence kosick artnatural
Re: FLUXLIST: Recent posts
Heiko Recktenwald wrote: There's also talk about the virtual as well as real elimination of the jewel box -- this new "simplicity" crossed with a technologically Do you want this ? Elimination of LP covers etc, THINGS, I liked them. Terrence writes; Simplyfy your life with 'highend' things. Real Simple mag; http://www.realsimple.com/realsimple/ t.
Re: FLUXLIST: Sensitive Issues
Terrence writes; I find it sad how many artits are taught to be so critical. They seem to create under such burdons and with theortical restraints. I am anti bordom. Everyone born a child. I can see more clearly what is ahead as I respond to what is before me not behind. Why relive what is done? Art is techne. Humans are tool makers, use them. Just play. Be observant. Poke fun my mon. terrence kosick artnatural George Free wrote: What did Buren say ? In relation to Duchamp. from an interview: B.M. According to you Duchamp's path leads to a cul-de-sac. In a way he wanted to be the last artist. Is this what you criticize? D.B. In its time this position was interesting. But subsequently, Duchamp's radical criticism of art has becomes the opposite of what Duchamp himself criticized. Duchamp was able to decontextualize an ordinary object -- thanks to the gallery, where the context contradicts the object -- but the context itself was not thought about in any critical way. It didn't take long for the effect; the banal object is fetishized. The context and place exerted their influence. The object placed there to destabilize painting became like a painting, a work of art with the rest. And, in this case, obsolete. Duchamp thereby introduced a form of production which is no more, and no less, than the mirror image of what he criticized. For the last twenty years I have been against Duchamp in my work, I never took an 'anti-art' position, even if some people would have loved to find this so. One of the fundamental and serious questions I ask myself is: "What is art?" Of, if you will, what are the processes which operate so that a work becomes -- or does not become -- a work of art? And if one finds these rules, or, if not, how do they fluctuate? And under what pressures? Duchamp gave a deliberately comfortable answer to these questions. For myself, they are still unresolved even if a solution appears from time to time in my work.
Re: FLUXLIST: Recent posts
Terrence writes; It is interesting for all to note. Interactive Multimedia CD roms continue to be more popular in France (and Europe I imagine). They are in pocket book sized packages and lined up like books with great selection and variety that you have to carefully browse. Wereas in North America packaging tends to be cereal box sized and also competing for shelf space with popular brands with lots of sweet things and gimmicky surprises. I have a garden size garbage bag filled with software boxes. I have been thinking of collage or sculptural possibilities in order to recycle them. Perhaps I should transfer my cereals to them for decanting. Hmm maybe not. terrence kosick artnatural Kathy Forer wrote: Do you want this ? Elimination of LP covers etc, THINGS, I liked them. No. Heck no. Then elimination of bodies and other essential parts, disposable to this great new networked organism -- organism vs. artifact, and artifact's down 2 in this round. Food is mostly organic but it's a thing. Art is a thing, more and/or less, with it's essence highly in question. This network is an organism, running on things which we're trying to make smaller and less thing-like, transparent. "Jewel boxes" are okay. I really prefer record covers, never really spend the same quality time with the teeny tiny type on the cd box inserts. No conclusions, I don't mean to posit 20 questions, but it's later than I think.
Re: FLUXLIST: Recent posts--icons
Terrence writes; One senior artist told me once, "artists can't be (ethically) environmentalists". I didn't agree but i saw his point. It did not stop me from producing art about my environmental anti consumer concerns. I still make use of my utility of pleasure but there is pleasure in the tools such as the one i use to send this message. letters on paper would not work as a replacement for this thread. less paper less packaging less impact on the environment. What is sacred? What will be the legacy of communication threads? A friend of mine has large cd collection. One of the cd's has a blinking light on it. It stands out. The thin spines of cds are barely legible but more brow sable then records. However records are more tactile as you leave through them. Their covers read like pop icon history. Their worn texture's look like (russian)icons. I get a certain melancholy looking at them. My older brother's and sisters youthful dreams are caught up in their aged almost sacred appearance. Can cds have this appearance someday? T. artnatural Ann Klefstad wrote: Terrence writes; Simplyfy your life with 'highend' things. Real Simple mag; Heiko, I too like the visuals w/ the music, the album covers, etc. Some of the most indelible images from my childhood were images from album covers. Terrence: Real Simple mag is run by an editor who is childless, married to a cardiac surgeon, has a 4-story townhouse in Greenwich Village, and whose relationship to simplicity is purely voluntary. This seems perverse; why does it seem so? I mean, she's well-meaning, she probably consumes less than some, her advice in the first issue isn't bad, though spectacularly unnecessary--Why is the whole project so rage-inducing? Because I'm enraged by it too, and don't quite understand why. I thought perhaps my automatic eat-the-rich responses were in my past, but maybe that's the reason-- AK
Re: FLUXLIST: Calling All MiniDiscs!
Terrence writes; sure; artnatural 103-980 west 22nd Ave Vancouver B.C. V5Z-2A1 Player/ recorder, have a good mike as well. T. Lord Hasenpfeffer wrote: I have an idea. If you have a MiniDisc player let me know. What's your snail-mailing address? Myke
Re: FLUXLIST: hide
terrence hides hi de
Re: FLUXLIST: hide in fridge
Terrence writes; Now how to rid those fridge odors?! T. Patricia wrote: I found Dave - he was in the fridge!!! http://www.migros.ch/index2.php3?lang=dlangchange=position=sublink_key= At 05:04 PM 04/19/2000 -0500, you wrote: >Hola Dave Baptiste! > >Didn't know you were here. Welcome! Welcome! > >RA > >David Baptiste Chirot wrote: > >> i hide in my skin >> >> pokerfaced >> >> you >> >> will never find >> >> me >> >> dave baptiste chirot >> 2515 n. oakland #1o6 >> milwaukee, wi 53211 > >
Re: FLUXLIST: Thin Pop, Thick Pop, Thoughtful Pop
Ken Friedman wrote: Fluxus had its problems, too. One of greatest Fluxus virtues was also its worst problem: a rigorous, almost scientific program of inventing ways to approach art. These explorations were part of a broad intellectual project on which many contemporary art movements and manifestations could borrow. Given the problems associated with Fluxus, others borrowed Fluxus innovations and projects, adapting them to many purposes while failing to acknowledge Fluxus as the source. Fluxus artists had a second problem. In terms of the art market, --- Fluxus people also walked away from much of the credit that might have been theirs. The experimental sensibility of Fluxus people was so strong that these artists often lost interest in their own, earlier ideas and moved on. One often hears of artists whose work has arrived before its time. This is true enough in the art market. There is a worse problem yet. Nothing is less forgivable to the powers that move the art market than artists who fail to repeat their work to feed a market that demands art work after its time has come. Oddly enough, these are the Fluxus artists who have had the most profound impact on the art world, but even the more conservative, art-minded Fluxus artists crossed the boundaries of art forms, moving with ease between tactile, musical, theatrical, visual and literary forms. Terrence writes; Excellent info/ insite post! Thanks. Fluxus, I think, holds the key to taking formalized art out of the meuseum and actualizing by culturizizing their forms into PUBLIC ritual. Hatch that egg! terrence kosick artnatural buc buc! (have a nice easter/ passover)
Re: FLUXLIST: Fridge Over Troubled Water--Stories and sonics.
Terrence writes; I often have conversations make casual comments about sounds to the point where it's "oh look at that" = "oh listen to that". Also to tapping on things. Which ia a little more eccentric but rewarding. People seem to appreciate these ecentricvities and equate it to having a rare appreciation of the world. I also belive our moods are very much governed by the levels and kinds of sounds around us when we don't even relize it. Maybe that's what people realize too late that it was the sound of their partners voice or the street they live on has driven them crazy. Or that it was the soothing voice that motivated them or made them dream of good things. We all naturally apreciate the voice of a good singer so why not the good sounds of other things? When you think of it sounds have more force then we relise. The din of sound is more of a force than the din of images. Sounds always makes people curious as to their identity. A funny sound, an unusual sound, where is that sound coming from? What's making that noise? T. Lord Hasenpfeffer wrote: My stereo mic just arrived last week. It has a very long wire which splits in the middle and extends even further down to two separate mics at the ends. Each mic has its own little clothespin shaped clip attached to it. In the very near future I intend to clip them both onto my shoes and go walking about the main mall in downtown Tulsa during a lunch hour. There is also a lot of construction going on there where a new building is being erected. I'm also beginning to wonder what it sounds like down near the pedals while I'm driving in my car. Myke
Re: FLUXLIST: Here's another vote for greater care with the reply function
Terrence writes; Warning! Slightly off topic. You know maybe that's why some people risk being assholes is exactly because it makes life more interesting. The question is does one have to a be a relevant or irrelevant asshole to make life more interesting or to prove a point or to respectfully change the subject? I belive one has to keep smiling to make their act of assholishness to make the best of it. Absolutely no offence intended to you dd. I just had to have some interesting fun with this. To be selfless and silly I hope that makes me a smiling irrelevant asshole at least! =-) T. ddyment wrote: hello, here here to richard's a thru c suggestions. i am in total agreement with he and ken re:reply function. at the risk of sounding like a complete asshole i'll go a step further and ask why one feels the need to reply five times in a row - single lines each. there's something to be said about a fully formed thought. i've stopped reading most of the messages at this point. too much junk to sift thru. i realize that fluxlist is not just a research tool and is a 'way of life' but so are chat rooms. and not a very interesting way of life. dd ps. ironically, the record collecting discussions that were pushed out of the list for not being relevant (!) were of actual interest to me.
Re: FLUXLIST: forward: talking vaginas
[EMAIL PROTECTED] wrote: That's probably Rudy's idea of how to give a woman an orgasm . . . Terrence writes; *lmao* T,
Re: FLUXLIST: Does Anyone Know???
Terrence writes; Never judge a book by its cover. T. Rod Stasick wrote: sounds intriguing, but i don't know - it sounds like my copy of "an endless adventure...an endless passion...an endless banquet - a situationist scrapbook" that's right now ruining the book it's sitting next to on the shelf. rod
Re: FLUXLIST: Does Anyone Know???
Terrence writes; If books could talk what would they say to each other? Thinking about that makes me wonder just how careful you have to be when shelving. I moved recently and built 3x 8'long 2 level shelves. I shift and sort and find I am reviewing my books and discovering which are read or unread much read and needs to be re-read. Placement is everything as well. usually by subject but the locations are also based on frequency of use, importance and stacks. There is a recycling box and it never comes back empty. There is not enough room so there are piles here and there and cupboards and utility shelves that overflow. The books suffer form too much authority, control, inequality, overcrowding, segregation and abuse, and neglect. T. Rod Stasick wrote: Hey! Tell that to my Eno: "More Dark than Shark" on one side and Stockhausen: "Toward a Cosmic Music" on the other. (Hey, It's gettin' ItChY in here.^.^.^
Re: FLUXLIST: Does Anyone Know???
Terrence writes; I moved from 2200 4 br 3 bath condo in a tough (-est) part of town to a ritzy 700 sq ft. art studio in a very good neighbourhood (there was a protest over it's building here). My partner stayed brifly then left calling my new place a prison. I do art and shift books alone in my velvet cell. T. Jay Marvin wrote: Every book I own screams in pain! I need a bigger apartment here in Chicago! My bookshelves are like American prisons. . .they suffer from overcrowding. Jay Terrence J Kosick wrote: Terrence writes; If books could talk what would they say to each other? Thinking about that makes me wonder just how careful you have to be when shelving. I moved recently and built 3x 8'long 2 level shelves. I shift and sort and find I am reviewing my books and discovering which are read or unread much read and needs to be re-read. Placement is everything as well. usually by subject but the locations are also based on frequency of use, importance and stacks. There is a recycling box and it never comes back empty. There is not enough room so there are piles here and there and cupboards and utility shelves that overflow. The books suffer form too much authority, control, inequality, overcrowding, segregation and abuse, and neglect. T. Rod Stasick wrote: Hey! Tell that to my Eno: "More Dark than Shark" on one side and Stockhausen: "Toward a Cosmic Music" on the other. (Hey, It's gettin' ItChY in here.^.^.^ -- [EMAIL PROTECTED]
Re: FLUXLIST: The Early Video Project
Terrence writes; The Early Video Project site is an important link to the past for new media. Way to go Davidson Gigliotti. The Early Video Project Supported by; Emily Harvey of the Emily Harvey Gallery, New York; and Francesco Conz, Editions Francesco Conz, Verona, Italy. terrence kosick artnatural Davidson Gigliotti wrote: The Early Video Project is pleased to announce the opening of the Early Video Project web site at: http://208.55.137.252/index.html We will have a proper domain name when it gets transferred from Internic. It is text intensive and opens a discussion of early video history. There is material of interest to those are interested in Fluxus. We are very open to comment, and information that may be incorrect or left out. We hope you enjoy our site. Davidson
Re: FLUXLIST: Fluxus Pebble
Terrence writes; The Fable of the Fluxus Pebble... "...a my little fluxter, you will know only when you can take the Fluxus Pebble from my hand..." T. Rod Stasick wrote: --- allen bukoff [EMAIL PROTECTED] wrote: The first rule of Fluxus is not to talk about Fluxus. I believe that is the second rule. The first rule you cannot even say. ummm, you don't say? (summarizing) r
Re: FLUXLIST: arts journal
Terrence writes; eww!!! cat fight! T. Patricia wrote: Heiko Recktenwald wrote: http://www.artsjournal.com/Arts%20beat.htm worth reading! Why ? Because of the magic word "art" ? Could you explain ? The worth is in the content and needs no explanation. Check it out. You've got to get out of that magicword mindthink, Heiko, (YOU are the magician, ; ) and on to the yellow brick road. Peformance: double click link above with mouse, repeating seven times, "I am the magician." read what you wish, if not enough magic does happen to pique your interest , "close your eyes, make a wish, hit delete." (ooops, I believe that was a quote...from "website unseen") kiss kiss, sparkle,sparkle clicking heels 3 times, PK
Re: FLUXLIST: Fluxus Pebble
Terrence writes; the secret is the reply e-mail and Patricia wrote: And only then will the little fluxter (fluxter??? I would think fluxer) achieve enlightenment? Or is the fable of the pebble feeble and peppered with handy parables? What is the sound of one pebble passing from the palm? I believe you have violated the second rule, below, even, and I have possibly violated the third rule, of the reply function. *gasp* Princess Petal
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
Terrence writes; I think trading is OK. Kids used to trade pogs. It's not much different with pop music that is specifically aimed at exploiting a youth market, especially Metalica; ~pogs dun dun dun dun draang drannng dun dun dun dun dun pogs pogs pogs.~ T. Sol Nte wrote: - all the artists who complain about this kind of thing are loaded anyway.
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
Terrence writes; Paintings are different. They are more like a fabulous concert played only once. They are one of a kind. (Mp3's are more like cheap posters but better). Packaged and distributed cd's are the fancy seriographs. But you know the new money making concept for soft media. Design once sell many times. I think the artists need to get more from the music but I think it this is more about money grubbing promoters and distributors then musicians. The artits speaking against mp3 are acting more as spokespeople for the suits who are just paracitical creatures who feel threatened by those they seek to exploit. ~Die suits die dun dun dun dun daannggg!mp3 killed the suits mps killed the suits! yaaa! dun dun dun dun dun drang! Die suits die dun dun dun dun daannggg! dun dun dun dun daannggg! mp3 killed the suits mps killed the suits! yaaa!~ T. ann klefstad wrote: How about we cut out the bits of paintings we don't like, too, and demand our money back? How come people who complain about spending their hardearned money on art always follow up by criticizing artists for being too desirous of money? Like bitching about spending an extra ten bucks isn't materialistic? Come on. Artists are human beings. They make interesting artifacts, that's what they do. They are not responsible for pleasing you, they are responsible for making interesting artifacts. You are responsible for finding the flipping inner resources to make the most of those artifacts. Of course tomorrow I'll take up the other cause. I'm just tired of hearing people say, "I'm too cheap to give money to those moneygrubbing musicians." AK [EMAIL PROTECTED] wrote: Can we ask bands to return cd money for the portion of the cds that aren't any good? Like when you have to buy a whole cd to get two or three songs you really like? Why do we have to pay for all the songs when we don't want em?
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
Terrence writes, Minidisc and has the size and tactilty and physical archiving/ labeling and I prefer. Anything that makes the recording and handling pleasurable is great. syquest 135 is/was better to use and faster but zip became the standard. Even if it gets skipped as a standard Minidisc still is great to use for us affectionado's. I still find the microphone handeling awkward. Maybe there is an ear implant mike in the future. Who knows we might even be downloading sensory info from and to our brains from a finger diode in the future. ( Reminds me of the famous Titan ? painting of God and Adams finger meeting up.) T. Lord Hasenpfeffer wrote: We suffer with VHS instead of Beta and with PCs instead of Amigas for similar reasons. Myke
FLUXLIST: The Brad Brace 24hr Dance Beat
The Brad Brace 24hr Dance Beat 12hr-images in UK music-clubs! All you animals hop to the beat all you animals look at the floor all those blurs are movin' feet movin' to the sound bad bad sound movin' them up and movin' them down buildings rockin' in your town I can hear the dogs howilin in the pound faces in your head faces in your head.. smilin' faces grovin' to the sound fairground centrifuge goes round and round fireworks sis bam boom sis man bown round and round round and round everyone dancin' to the beat the Brad Brace Beatjpeg is food for the freaks all the freaks hop to the beat the Brad Brace Beat the Brad Brace Beat landscapes landscapes Chez Monet industrial landscapes Van Van Gogh mass production (25 bot--tles in a row) feet to the toe feet to the toe toe toe toe tic tac toe tic tac toe dancin' to the beat the Brad Brace Beat Domestic icons blender girls like to spin dancin' to this beat is a sinmodern icons cars for the boys cars for the boys like to go.. good for the go..good for the go phyco patterns spin your head crazy photo's spin your head 42 people out on the floor.. dance to the beat... the Brad Brace Beat. 57 varieties people parts.. ears feet clapin hands in the morgue listen and twitch listen and twitch every thing is lookin for their feet so they can also dance to the beat... the Brad Brace Beat. so all you people get off your chair get up right now get up log in to the sqid and see those images go round and round reflection mixes party fixins roads lead away lead the way ge to the Brad Brace site today 20 statues listen in the Park trains a' grovin' bodies in the dark water boys keep us cool as we all move and click to the beat the Brad Brace Beat the Brad Brace Beat by Art Natural inspired by the The 12hr-ISBN-JPEG Project
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
Terrence writes; excellent intuitive set up. I'll check it out minidisco.com now. btw can you control off the unit, as is there a way to remote pause/record on the mic line in? Nice to have a hand on the unit (he he) but it is slippery, I added stick on neopream bumpers on my sony minidisc after my first drop and kick. Id like to get a zoom mic (parabolic?) as well for coloring/detailing. Any ideas on that? thanks T.
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
{ brad brace } wrote:
I was most surprised 'to hear' that all the chants and
stomping that the fans do during the game are prompted by
prerecorded/broadcasts in the stadium.
Terrence writes;
It is even less obvious to all, but the thinking eye and mind, that the art
galleries/institutions have something similar to this operating for years.
T.
Re: FLUXLIST: RE: 2
Terrence writes;
yes! The aural world of random sounds is as varied as the random ocular one.
I hope we can hear orchestrations from the list. Perhaps we can start
trading sounds. Anyone?
I am looking to get a deal on a Macki digital mixing board. Ideas anyone?
T.
Heiko Recktenwald wrote:
Isnt Terence also mididisking ?
Please do burn your minidisks recording !!
And do send tapes around.
Tapes have become incredible cheap when I was looking around last time. 5
maxells around 10 or 12 dm, 12 dm the better ones ("s")...
Anybody interested in a tape of John McLaughlin in the Miles band,
February 70 ?
Re: FLUXLIST: net-economies (was napster, etc.)
Beam it http://click.mp3.com/c/c_bDab/n_286662834/u_my/ T. Lord Hasenpfeffer wrote: I have no clue yet as to how MP3s are actually created.
Re: FLUXLIST: Art and Economies
Terrence writes; I'd be interested in the things economic theorists have to say that relate to artists. Aritsts as manufactures of artifacts as well as artist as promoters of creative concepts. I am currently developing a few creative commerce ideas inspired by the net. Keep in mind there are e-venture capitalists with money to burn. Expenditures on interactive and possibly profitable creative e-ventures, if only for the attaction value they have are more of a consideration in a rapidly growing market. I feel the key is to be yourself and have fun. That is an attractor. T. artnatural-e May wrote: Robbin Neal Murphy wrote: OTOH, I would be very interested in economic models for artists and the net. then I would suggest that you have a look at the work of Freidrich von Hayek and that of the Austrian School of Economics in general.
Re: FLUXLIST: Imagine
Terrence writes;
imagine there's no heaven, above us on--ly sky ..imagine all the
p-e-o-p-l-e liv-ing for to-day -ey ey iii
T.
{ brad brace } wrote:
I'm glad you said it ;)
On Tue, 16 May 2000 [EMAIL PROTECTED] wrote:
God this is insufferable!!!
Re: FLUXLIST: Imagine
Terrence writes; It's a belief system. If you belive there is something, there is, because you think. I mean if you belive in God you have to belive in the devil angels etc. It's not about being rational, but then purly rational beings are sort of boring and perhaps even preditory. Heaven and God is a measure of hope. You are by your associations. Its a safty measure. A reliable place to hang ones weary mind. Loyalty is important, lack of or betrayal is devastating to us. My dog's love me but they know nothing of Christ and their loyality is to me. They wag thier tails when i pay attention to them. They trust and have faith in me. Above them there is only sky. I never let them down. If people could do the same we wouldn't need a Heaven. arf! arf! T. Lord Hasenpfeffer wrote: imagine there's no heaven, above us on--ly sky And this, of course, assumes that there is a Heaven and not only sky otherwise there'd be no need to imagine it the other way around, right? Myke
Re: FLUXLIST: Art and Economies
Terrence writes; It's a game of time. Time is money and it takes time to make art. Independence is bought with obscurity. Face it many artist's are made popular by those who's interests are in trade. Some artits are good at making themselves popular and available to those interests. Others trade time and wait in little comfort. Time and art can be sucked by independence. At some point you have to buy in. The clock is ticking. T. George Free wrote: I contend that the most engaging art tends to be created when the artist is working as closely as possible to a subsistance level, that is, with a minimum of "imported" raw material as possible so that the need to "export" (and be controlled by the market) is minimalized. Wouldn't control by the market be minimized most often when the artist has an independent income? GF
Re: FLUXLIST: Art and Economies
Terrence writes; Being resourceful is part of the fun. I did a series of large paintings using iron grindings from a nearby brake shop. I used some pickling vinegar to produce a precipitate of iron which imparted rich brown orange hues to the canvas. I used acrylic washes afterwards and later still additions of oil paint colors when i could afford it. I worked in an old double garage with salvaged building studs as stretcher frames. Since i worked in an over grown garden my work reflected its growing nature in moth process and form. The images were of roots and branches. I later added a few fish and a few slugs added trials to the surfaces which i traced. I did over 30 paintings this way. I still reflect my immediate environment and places i visit. I use bits and pieces of whatever things and ideas i come across. I still belive in utility such as utilities of work for pleasure. It is a matter of what you apply it to. If it comes to food rent or paint some artists choose paint, some food, a cheap apartment and rust or whatever. T. artnatural "narvis ...pez" wrote: At 09:54 pm -0700 16/5/00, Patricia wrote: So, sometimes I DO need to buy materials. Best, PK sometimes i agree with buy materials too regards ...pez
Re: FLUXLIST: Congratulations !
Terrence writes; He probably needs a new roof. T. "Villani, Adam" wrote: Umm I understand Newton's case, but the Beastie Boys song is 8 years old... what took him so long?
Re: FLUXLIST: Abe Lincoln Speaks.... and Lao Tzu
Telkwkce wrufogs; Wokjwf klfheb vesmoniws bohby goljinq. hijvac.
Re: FLUXLIST: Imagine
Right on George~! T. George Free wrote: After the talk I was reading a Linux user group newspaper I picked up that included a short article by Richard Stallman talking about the origin of copyright and how he thought that it was originally devised to protect creators and was now being used by corporations to prevent people from freely circulating ideas The debates from the revolutionary period of the 19th century are still very much with us...
Re: FLUXLIST: the creative act
Terrence writes; I don't agree with this. Duchamp, in a purely objective practical way, was a sort of a clever aragont lazy artist and he was not a professional painter. He was more of a dabbler and and a chess player and mostly unemployed. He talked more than he produced art. I don't feel he really became a professional artist who could sustain his occupation. He said some interesting things and open the minds of culture thinking of art in a different ways. I think the spectator brings sustainablitity to the atists works by opening their wallets. Something duchamp never realized nor probably could as he was not able to, living up to his name beyond a few shocking works and words, a kind of avoidence, a fear of eventual failure. He realized he could not support himself. A sutuation many artists sadly find themselves in. terrence kosick artnatural "narvis ...pez" wrote: "all in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to he creative act.* this becomes even more obvious when posterity gives its final veredict and sometimes rehabilites forgotten artists." m.duchamp april 1957 * "duchamp has emphasisez several times the role of the viewer, which he epitomized in the formula 'the viewer are those who make the painting' (bibl. 245, p. 143.) as kris points out , 'psychoanalytic investigation of artistic creation has abundantly demonstrated the importance of the public for the process of creation: wherever artistic creation takes place, the idea of a public exists, though the artist may attribute this role to one real or imaginary person. the artist may express indifference , may elminate the consideration for an audience from his consciousness altogether , or he may minimize its importance. but wherever the unconscious aspect of artistic creation is studied, a public of some kind emerges. this does not mean that striving for success, admiration , and recognition, need be the mayor goal of all artistic creation . on the contrary, artist are more likely than others to renounce public recognition for the sake of their work. this quest need not be for approval of the many but for response by some. the acknowledgement by response, however, is essential to confirm their own belief in their work and to restore the very balance which the creative process may have disturbed. response of others alleviates the artist's guilt." Bibl. 167, p. 60. as
Re: FLUXLIST: Bureaucracy and Eddy Edwards
Terrence writes; Sounds like a script about bureaucracy and those who get a thrill from enforcing rules and regulations. It reminds me of a siding salesman (among other professions) named Eddy Edwards. Eddy used to work out at a gym popular with young jocks and professional players and a few "rounders", guys who like to make a quick buck doing whatever it takes to keep out of the 9-5. Eddy was your typical wise guy. A small time hustler. At the time he was selling roofs windows vinyl siding to whatever sucker he could charm. Me and my pals fresh from school and pumped by testosterone liked the prattle of risky bussiness and marveled at the the tough boasts of the cool/dangerous characters that hung out at the gym. Eddy stood out like the archtype of the breed. It was always 'hey Eddy ows it going?' Eddy always had a smile and a good story. Eddy dissapeared for a time. No one knew where he went. I found out when he showed up a year later. Eddy Edwards had a good story. After being chased out of small towns across the province, Eddy said he went out to Calgary Alberta to try his luck selling vinyl siding in the oil patch. Eddy was not used to the regulations and licencing procedures and his usual short cut methods were not paying off. Eddy knew that if you don't get the work cleared over hurdles like heritage and zoning regs fast enough the deal could sour. (When the customer could have the time to double check the exorbitant price.) It seems Eddy was having a tough time with delays and red tape of City Hall Engineering and Provincial Heritage regs. Eddy was new to the territory and was not sure how to get his way. No matter what, Eddy the outsider, was foiled by the officious dry clerks who would not warm up to his sweet talk and hints of a 'little extra' to get the thing through. Deal after deal soured due to delays and holdups by the bureaucracy and officious clerks. Eddy got frustrated one day after being letdown by a particullary malicious diminutive clerk who dismissed Eddy with an air of smarmy detest. Eddy flipped and told the clerk if he did'nt pass his licence application (for a particulary large apartment project) "I'll put you in a pine box". Eddy got 6 months. He came back to his old territory and made amends with his old bureaucratic 'connections'. The gym closed a few years later and I had'nt seen Eddy for 20 years untill a few months ago when I was in Small Claims Court to get a slumlord to pay up on a contract (he did). Eddy was there! Eddy Edward the hustler, the wise guy was a little grayer and sadly a bit hunched over. Eddy was all alone seeking damages from the Public transit Corporation for some sort of injury. The Transit's Lawyer was there with 3 witnesses. Eddy had supposidly "slipped" and injured himself getting off a bus. (Eddy never slipped in his life). The Judge said he had no time to listen to so many witnesses and granted a continuence. Eddy seemed very happy. Such bureaucratic delays ment Eddy! might force The Transit People to a settlement as this was costing them more (lawyer and witnesses about 1,400.00 ) then Eddie's time. Eddy Edwards older but wiser found that by joining bureaucracy, keeping his claim under 10,000.00 (and out of the very costly Supreme court) he could get his way. I smiled and watched as the wise old grey fox, Eddy Edwards paced his way out on this, his new territory. T. alan bowman wrote: when she was back in the post-office she was called to one side by a member of staff, and reprimanded for posting a non-regulation sized envelope, which the woman had in her hand! . politely asked for the card back so she could put it in a regulation sized envelope. she was told that this was impossible!?? the card remains confiscated...
Re: FLUXLIST: Strong Buy Recommendation - last one went up 125% since April 13(fwd)
Terrence writes; Strong caution. Any stock promoted that has anything to do with Vancouver is questionable. 'Strong dip' is the promoters and pals tripling etc their cash. tempting but naaa T.
Re: FLUXLIST: the creative act
Terrence writes; Art is commercial the moment you seek to engage it as "culture". ie in the culture industry. Duchamp was revoultutionalry thinker for the arts but not necessrily a revolutionary professional artist. He canged the art making oeuvre but for other artists with their interpretations as "conceptual art" . I find him interesting and somewhat important for this century but i don't feel he is a "hero" but for conceptual artists, whose artwork, by being exhibited in a gallery, is indeed inside a frame none-the-less. Perhaps I am prejudice as a free thinking artist exploring the worlds of creative posibilities with the opinion that art can indeed fall outside the gallery / institutional context with an audience of one other person no less. A single communication with a single response. Maybe that will make me a hero to some d-e-conceptual artists in the future terrence kosick artnatural
Re: FLUXLIST: the creative act
Terrence writes Postitution is an honest exchange at a fair market value or as supply and demand and it never seeks to qualify for grants to support it. I abohore patriarchy as an infantile wish. I see Duchamp as a creator of ideas that some pick up on. It's not a rule, like a lesson from daddy unless you make it so. How dreary to think that you have to seek father's avice everytime you go out to have an adventure. How would anything new be discovered? Might as well hop back in the womb of another man's ideas and play it safe if you won't take risks. terrence kosick artnatural
Re: FLUXLIST: the creative act
Terrence writes; ok ok i am playing devils advocate (and being a bit playful) but really one must go on you have to look at the circumstances of the time. He was way ahead of his time but so were others. People still paint and many more paint and don't know a thing of the 1913 armory show. I think its important to have inconsistancies and not just be a producer or a fame monger for that matter. Patricia wrote; - he was the ultimate in risk-takers because he didn't give a damn. In a way he had nothing to loose other painters were gaining more attention than him. He owes more to them and to Dada and the surrealists. He was intellectually opportunistic. I don't belive he was taking the lead. T. ;-) I see him as an artist who broke the rules, changed the course, and because of his fame, or infamy, was written up in capital letters, thus, got noticed. Speaking of same (fame?), where would the art world be without The Armory Show of 1913? Pulling down a tome and resorting to quotes, and quotes within quotes from the catalogue accompanying "The Spirit of Fluxus" "Especially influential to Fluxus were the ideas of the artist and philosopher Marcl Duchamp (associated both with Dada and Surrealism) and the composer and teacher John Cage (an admirer of Duchamp who maintained an interest both in Dada and in non-Western, nonrationalized thought, and who passed on these interests to a new generation of young, postwar artists). As Ben Vautier wrote: 'Without Cage, Marcel Duchamp, and Dada, Fluxus would not exist...Fluxus exists and creates from the knowledge of this post-Duchamp (the ready-made) and post-Cage (the depersonalization of the artist) situation." PK
Re: FLUXLIST: ANNALEE NEWMAN, 1909-2000
Terrence writes; What would Greenburg say? Another part of the past passes. I can remember seeing the film Painter's Painting in 1985 and listening to Barnet Newman's good faith and feeling so enthusiastic about painting. Those were the days and things have changed since 1985. Something better start happenin here. The times they are changing faster! Good faith indeed!~ T. Rod Stasick wrote: ANNALEE NEWMAN, 1909-2000 Annalee Newman, 91, widow of Abstract Expressionist painter Barnett Newman who established the Barnett Newman Foundation after his death, died at home in New York on May 10
Re: FLUXLIST: ANNALEE NEWMAN, 1909-2000
Terrence writes; I am never going back to my student bacement suite. T. Patricia wrote: I offer you this, Terrencegood faith... We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. -T.S. Eliot Terrence J Kosick wrote: Terrence writes; What would Greenburg say? Another part of the past passes. I can remember seeing the film Painter's Painting in 1985 and listening to Barnet Newman's good faith and feeling so enthusiastic about painting. Those were the days and things have changed since 1985. Something better start happenin here. The times they are changing faster! Good faith indeed!~ T. Rod Stasick wrote: ANNALEE NEWMAN, 1909-2000 Annalee Newman, 91, widow of Abstract Expressionist painter Barnett Newman who established the Barnett Newman Foundation after his death, died at home in New York on May 10
Re: FLUXLIST: Napster/ArtsJournalArticle/ArtistsRights
He who paints good gets stoned first. T.
Re: FLUXLIST: mp3s
Terrence writes; How do people with large collections of music listen to them all on a any regular basis? Consider if you listen to music more often than books then the fact that when a thing is collected and put away it suffers a sort of silence, a little prisoner of commodification for which the artist is paid for their work be quiet most of the time. Aso; If someone plays a particular piece of music for a party of 50 and several people go out and buy the artists work because of that then the host does a kind of free promotional service. Therfore mps3 is both a way for music to be copeid and silenced and also acts as a catalist for free promotion for the artists. An artist whose work is most often copied/mp3 could revel in that it could get free promoton as a trade for being copied. If they are bothered it is that they are not just deprived of income but that they perhaps don't care if the work is more often enjoyed but that it suffers the din of silence in archives of thousands with little play rotation abd that it is not a dead end commodity whose purpose is mostly exchange. Most popular songs are played for a period after their release then they are archived and played less often. It is that early period of a musical peices release that is mostly of concern as it can indeed hurt sales/profit margins. The issue of mp3 could be more easily resoved on the movie release model. Ie video release. The popular artits could, after a period of say 4-6 months, delcare the work mp3 free. However it is the artits who reputation is just rising who's work takes longer to be discovered who could suffer from less income. The trade off there is that they could gain more attention by mp3 release. Indeed emerging artists are being discovered this way. It seems some have nothing much to lose, considering their existing popularity and wealth and emerging artits something to gain from mp3 while others whose returns are entering the profit margin could have the most difficulties. I think an mp3 release date should be worked out somehow. T. artnatural [EMAIL PROTECTED] wrote: The art and business of music is changing. May as well change with it... That is, eschew stasis. Check out: http://www.sfbg.com/AandE/34/32/boring.html
Re: FLUXLIST: love seeing my name the subject heading
Terrence writes; at times we feel we are but a fiction artnatural
Re: FLUXLIST: Mo***ento removed
Terrence writes;
wrong? He/she is some whacked dude posting personal and sexual degrading
comments. Every society has moderating filters. Protecting it's members' esteem
should be every lists' moderators priority. In the case of free speech societies'
freedoms unchecked can lead to degradation of the whole group. As far as I know
were not here to engage group therapy for sociopaths. Shut em out.
T.
the perkier lurker
{ brad brace } wrote:
On Wed, 21 Jun 2000, Sol Nte wrote:
I was saddened to see the nasty post from mo***ento in my inbox this morning
and have thus acted to prevent mo***ento from posting to this list.
This is wrong. /:b
Re: FLUXLIST: Re: stamps (for fluxlist?)
Terrence writes; I almost forgot about this. Personalized stamps. I wonder of the many clever ways this can be utilized? This might be a fun way of getting some good publicity by jamin` with the post's latest thang. Just what are the costs and the restrictions? T. artnatural. I will be out of my mind from 06/25/2000 until 07/05/2000. I will respond to your message when I return. Please call Dr. Cooper 604-733-5995 if you need my immediate attention. Carol Starr wrote: hi PK, in today's nytimes.com wonderful, as i told kiku this morning, don't you love it? best, Carol :) :) :) CALGARY JOURNAL Topple the Queen! Enthrone Yourself on a Stamp For Canadians tired of airbrushed photos of the queen on their stamps, Canada Post suggests the 21st-century alternative: personalize your postage with a photo of the new baby or the loyal dog. http://www.nytimes.com/library/world/americas/062700canada-journal.html carol starr taos, new mexico, usa [EMAIL PROTECTED]
Re: FLUXLIST: My Blue Poop
Terrence writes; Very clever passing note for art school. Blue poop beats beets. ;-) T. James Smith wrote: I am a lurker, but Champoy's post prompted me to write. I have just recently graduated University in May 2000. In one of my final courses, entitled "Experimental Concepts," we were asked to develop a project centered around time--specifically we were to create a piece that would be clearly affect by time. I purchased an enormous blue cake--frosting bread, everything was blue--horrifically radioactive blue. At critique I served the cake, along with blue punch. After everyone was finished, I passed out self-addressed (addressed to me) postcards with simply "Yes" or "No." I asked them to let me know if they were "affected" by my piece--hence the "Yes" or "No." The postcards served as documentation even exist as another piece unto itself. It was most exciting, and fun for me. I think projects such as these give new meaning to Art Movement. Enjoy, James -- From: CHAMPOY [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: FLUXLIST: Re: FLUXLIST-digest V1 #357 Date: Tue, Jun 27, 2000, 4:36 AM i'm trying to make artworks out of my feces by trying to eat different kinds of foods and drinking some edible coloringsany suggestions what other kinds of food that i might eat to produce such a very interesting effect on my feces. -champoy hate __ Do You Yahoo!? Get Yahoo! Mail - Free email you can access from anywhere! http://mail.yahoo.com/
Re: FLUXLIST: Re: FLUXLIST-digest V1 #370
Terrence writes; Fluxlist Calculus many people + much crap = much confusion T. Andrew Dalio wrote: I'm a little confused. How can so many people put out so much pretentious crap 4 times a day? Just wondering, -andrew
Re: FLUXLIST: WANTED
Terrence writes; Some have been trying for years. I have greatfully accepted my role in the fluxlist e-mail performance. T. Ilya Monosov wrote: PLEASE GET ME OF THIS LIST. EMAIL ME AT [EMAIL PROTECTED] to tell me how i can get the hell of it!! sorry to be rude, but i tried asking and i can not deal with the volume of posts
Re: FLUXLIST: galleries
Terrence writes; This is possible online with co-creation. In Physical spaces. Areas of neutrality; line ups and waiting areas are possible places for artistic encounters. I have also used public bulletin boards at a local university. I mounted bulletin boards at a cafe gallery but the management took them down because people were interacting with them! *l*) Sidewalks, and players where kids and parents can participate in chalk art is also a good start. The public artillery here have a art creation area that parallels the current exhibition with thematically media, materials and ideas for the public to interact and create with/from. I still don't rule out galleries but the relationships artist curator patron critic could use as little re-evaluation. The artists who are not with the in-crowd in any given art school grad year have a harder time engaging their work. Some feel silenced. Something may be wrong with the way the system is and how it is run. Change is good. Righ now the system works for a few. Some get blacklisted or ignored for many reasons. Galleries are oft guick to reject even very good work if it can't sell it. Youth alienation and even cases of suicide have occured. Others find better success by moving to larger centers of services and larger surface areas for cultural engagement. Artist run can be even more exclusive. If you look at it realistically sometimes being accpted is a way to shut down the evolution of the cultural engagement of artistic practice. Who knows what destiny can hold? Do your work and eventually things can happen. Finding time for your creative work is often the greatest strggle if you don't get plugged in right off. Sometimes it just takes years. Hang in and keep on creating while developing new ways and mediums to be more creatively/culturally engaged is the way to go. terrence artnatural + here and now or storage. George Free wrote: A genuinely popular art has to be established on the basis of a new relationship between artists and their public. Consider Filliou and Brecht and their shop Cédille qui Sourit. Filliou said "we conceived the Cédille qui Sourit as an international center of permanent creation, and so it turned out to be. We played games, invented and disinvented objects, corresponded with the humble and mighty, drank and talked with our neighbors, manufactured and sold by correspondence suspense poems and rebuses, started to compile an anthology of misunderstandings and an anthology of jokes..." A center of permanent creation, that is what galleries could be. Less a site of viewing and more a workshop, a place where artists --both professional and nonprofessional-- work to create works, where works are apprehended in construction, where the public can grasp the modus operandi of art and produce works themselves as a way of apprehending work. cheers, George
Re: FLUXLIST: galleries
erratum: It should read; public artgallery and not public artillery. Terrence J Kosick wrote: The public * artillery * here have a art creation area that parallels the current exhibition with thematically media, materials and ideas for the public to interact and create with/from. Somehow i really like this spellcheck error, "public artillery" where people (taxpayers/ voters) can paticipte in the (millitary) institution. h =-) T. artnatural
Re: FLUXLIST: Candy Rapper Opera
Terrence writes; Wierd!~ Coincidentaly I am writing the Candy Rapper Opera. (I am Scoring in some occasional voice bursts). I was inspired by my friends compliants of such irritations. T.
