[NetBehaviour] DIWO cut up
We have compiled all the suggestions We live in a time of the dates - a reminder: the very last roll of toilet paper. it never went through it seams. Go forth and devour the RoloDex? ...WE WORK WITH DEAD BODY... A mechanical device sits whirring in the Exquisite Copse lurking and trying to follow the converstations. I imagine it to be like a large wooden binary deadlock emitting the fuzziness of noise (Is this about the Malevich? It may have been another artist. The correct answer wins a prize. Yeah, yeah yeah.) 1) I find the sense of impending environmental crisis 2 good projectors, TV that plays DVDs 3 to 10 live visitors in the live 4. All NETART: Paul is the author Dougald writes the blog with Annie about the text... Gregory Bateson is still If you click me i do you poor little cloud... I summarily place myself at the mercy of the court I want to be Civilised We live in a time of unravelling. I wish I could be there, but I'm working. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] japanese girlfriend simulator gone bad
http://blog.livedoor.jp/htmk73/archives/1530445.html -- richtextformat Ltd. | company number: 06699372 http://richtextformat.co.uk | ad...@richtextformat.co.uk | 078 0706 2090 -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Geograph British Isles
i've been using geograph.org.uk a lot these last few weeks. it is everything you claim it to be, i'm really struck by its similarity to http://urbandead.com 2009/11/12 james morris ja...@jwm-art.net The Geograph British Isles project aims to collect geographically representative photographs and information for every square kilometre of Great Britain and Ireland, and you can be part of it. What is Geographing? · It's a game - how many grid squares will you contribute? · · It's a geography project for the people · · It's a national photography project · · It's a good excuse to get out more! · · It's a free and open online community project for all · ... ...except those who don't live in the uk :-/ http://www.geograph.org.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- richtextformat Ltd. | company number: 06699372 http://richtextformat.co.uk | ad...@richtextformat.co.uk | 078 0706 2090 -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] We won't fly for art : Take the Pledge
hey all i took this pledge, but it's easy for me as i barely get any time to dedicate to art as it is, the idea that i would have the time and money to fly somewhere to see it is almost absurd. for some of you guys it looks more challenging, and it really the challenged that should be taking this pledge. for me it's like saying 'i pledge to carry on pretty much as i already am doing'. if you really need to fly to the art, because you live in rochdale or reykvavik or whatever and the local scene is a bit flat, perhaps you should be putting energy into revitalising that local scene, rather than spend time surfing for cheap flights to new york. r. 2009/4/16 Tim Cowlishaw t...@timcowlishaw.co.uk On 16 Apr 2009, at 10:10, helen varley jamieson wrote: yes turning off lights appliances, not overheating buildings, is just as (maybe more?) important as reducing flights driving. i don't have the stats but i understand that even turning off things like computers stereos at the wall can make a difference. I think the point is though, that it's not an either / or. We need to be doing all of the above, and urgently. If people's personal circumstances make this difficult / impossible that's a seperate issue, but we can't really be using energy efficiency in some areas to jsutify extravagence in others - it's basically the same offsetting, but on a personal scale, and it doesn't work. Cheers, Tim ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- richtextformat Ltd. | company number: 06699372 http://richtextformat.co.uk | ad...@richtextformat.co.uk | 078 0706 2090 -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] We won't fly for art : Take the Pledge
my understanding of this pledge was that it was aimed at punters rather than artists. i wouldn't fly to reykjavik to see the sugarcubes, i'd wait until they turned up playing a gig in brighton [where i live] or london. the band should travel, the audience remain at home. same goes for yourself or simon. perhaps it gets more complicated with the line continually blurring between consumer and producer but it's still simple for me to recognise that, as someone currently investigating the legacy of the egyptians in our culture, i can easily go to the local library, or the VA in london, rather then fly to turin (where they have a large egyptian museum) or even cairo. 2009/4/16 Pall Thayer pallt...@gmail.com In addition to what Simon said, I think you're also oversimplifying the idea of revitalising [the] [local scene]. The local scene here in Reykjavik is very flat. I work here with a small organization to, not revitalize, but rather to vitalize this scene as it has never been anything other than flat. It's highly unrealistic of us to attempt to reach our goals on the merits of our work alone. This would be nice but there are a couple of reasons why this is unrealistic. For one, showing that there is an international scene adds a lot of legitimacy to our claims that this type of art is relevant and worthwhile. Another reason may perhaps be a bit more Icelandic. The Icelandic cultural scene has always been afraid to acknowledge things that happen in Iceland that can be said to be new and different unless someone else does it first. A very good example of this is that The Sugarcubes were practically unknown, except within a very small underground local music scene, until they hit the charts in the UK. After that, Iceland was finally ready to accept them and what they were doing. The same sort of thing happened with Olafur Eliasson. Very few people in Iceland knew who he was or what he was doing until after he was recognized abroad even though he had exhibited several times in Iceland (he's never actually lived in Iceland). I can't think of a single well recognized figure in the Icelandic art community that didn't first receive recognition somewhere else. So, for these reasons it's important that we network outside of Iceland both to make contacts that we can bring to Iceland to show the community here what is happening elsewhere and to make names for ourselves outside of Iceland so that the community here will be more receptive to the work we're doing ourselves. In other words, we can't vitalize or revitalize the local scene without traveling abroad and this is widely recognized as can be seen by the numerous travel grants available within the Nordic countries and Europe expressly for the purpose of networking. best r. Pall On Thu, Apr 16, 2009 at 10:12 AM, richard willis listse...@richtextformat.co.uk wrote: hey all i took this pledge, but it's easy for me as i barely get any time to dedicate to art as it is, the idea that i would have the time and money to fly somewhere to see it is almost absurd. for some of you guys it looks more challenging, and it really the challenged that should be taking this pledge. for me it's like saying 'i pledge to carry on pretty much as i already am doing'. if you really need to fly to the art, because you live in rochdale or reykvavik or whatever and the local scene is a bit flat, perhaps you should be putting energy into revitalising that local scene, rather than spend time surfing for cheap flights to new york. r. 2009/4/16 Tim Cowlishaw t...@timcowlishaw.co.uk On 16 Apr 2009, at 10:10, helen varley jamieson wrote: yes turning off lights appliances, not overheating buildings, is just as (maybe more?) important as reducing flights driving. i don't have the stats but i understand that even turning off things like computers stereos at the wall can make a difference. I think the point is though, that it's not an either / or. We need to be doing all of the above, and urgently. If people's personal circumstances make this difficult / impossible that's a seperate issue, but we can't really be using energy efficiency in some areas to jsutify extravagence in others - it's basically the same offsetting, but on a personal scale, and it doesn't work. Cheers, Tim ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- richtextformat Ltd. | company number: 06699372 http://richtextformat.co.uk | ad...@richtextformat.co.uk | 078 0706 2090 -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- * Pall Thayer artist http://www.this.is/pallit
Re: [NetBehaviour] We won't fly for art : Take the Pledge
i didn't understand the pledge as being about flying to experience/view art, but flying for our art careers that was just me not reading it carefully enough! as you were 2009/4/16 helen varley jamieson he...@creative-catalyst.com er - what about net art? cyberformance? networked performance? broadcast music? webcasting? art on telly? (i think that does happen, occasionally) ... there is a wealth of art that can be experienced without leaving the comfort of your own home. i didn't understand the pledge as being about flying to experience/view art, but flying for our art careers which, as many people have said, does become necessary sometimes ... h : ) This doesn't only happen with art, but the problem with art is you have to be physically in front of it to experience it. You can't just send a painting or an installation by email. So, what effect will this pledge have? isabel -- helen varley jamieson: creative catalyst he...@creative-catalyst.com http://www.creative-catalyst.com http://www.avatarbodycollision.org http://www.upstage.org.nz http://www.writerfind.com/hjamieson.htm ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- richtextformat Ltd. | company number: 06699372 http://richtextformat.co.uk | ad...@richtextformat.co.uk | 078 0706 2090 -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Does it mean something?
i think simon just ably demonstrated why putting things in 'a more everyday, comprehensive lanuguage, was/is problematic: you need four times the amount of words to say the same thing. why write 'i put my pen on the table' when you could write 'i put my plastic-and-ink-writing-tool' on the 'wooden-platform-held-up-on-four-wooden-legs'? cos the former is simpler than the latter. accessibility is good up to a point: but introduce lifts into multi-storey buildings for the aid of the disabled and you also create the knock-on effect of making the able-bodied less fit and lazier by giving them an effort-free mechanism of going upstairs. much better for the body - and mind - to take the stairs as before. yeah, the language isn't easy to grasp, but the effort of doing so is probably more rewarding than the effort of simplifying at-first-inaccessible academic prose. 2009/2/3 bob catchpole bobcatchp...@yahoo.co.uk Simon, Thanks for the translation, it's fortunate you're on the list! Don't you think the text, drafted in a language largely understandable by academics, is guilty of the very thing it claims to be researching? That is, how and why people are excluded from contested spaces? If the text spoke in a more everyday, comprehensible language do you think it might invite wider engagement? Language is power. Often to exclude or oppress, no? Bob -- *From:* Simon Biggs s.bi...@eca.ac.uk *To:* NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org *Sent:* Tuesday, 3 February, 2009 11:52:17 *Subject:* Re: [NetBehaviour] Does it mean something? It is clear to me and I have no problems with the language. The section that states the potential of translocally networked spatial practices could have been more simply written, however it is clear in what it says – that the research is engaging the potential of networked practices by practitioners who are interested in spaces that transcend the local (the way it was originally written was better). The next section, which states urban network processes, spaces of geocultural crises, and forms of cultural participation and self-determination is equally clear. Urban network processes are events that occur in urban environments within the network infrastructures of which such environments are composed (communications and transport are examples). Geocultural crises are crises that are caused by geocultural issues. This is shorthand for the post-colonial politics around access to land based resources by different cultural groups (Gaza is an example here, as is Darfur). I do not see what the problem is with the sub-phrase cultural participation and self-determination. It seems clear as it seeks to conflate the individuation of self (the forging of self) with participation in social activities (that is, the self depends on others to come into being). Sites of alternative urban engagement simply refers to places where non-normalised social activities can be pursued and social groupings can form that facilitate those who do not conform to dominant social norms (eg: raves, biker cafes, hardcore clubs, etc). The last three words are, I agree, a little confusing. What is the object of the phrase emerging architectural cultures. Does this refer to cultures composed of architects or to cultures that are shaped by architecture? I would assume the latter, but the grammar employed here is, I agree, not very clear. Overall the text is clear and in its linguistic form usefully suggests what its cultural origins are (left intellectual academic). The text as a whole clearly states that its concern is with who gains access to and rights of definition of social and economic infrastructure in culturally contested urban spaces and what the implications are for the communities and individuals involved. Where is there a problem with that? Regards Simon On 3/2/09 10:23, bob catchpole bobcatchp...@yahoo.co.uk wrote: Mez, Does it mean something? Bob *From:* mez breeze *netwur...@gmail.com* *To:* NetBehaviour for networked distributed creativity * netbehavi...@netbehaviour.org* *Sent:* Monday, 2 February, 2009 23:26:34 *Subject:* Re: [NetBehaviour] Does it mean something? hi bob [+ assorted netbehaviouralists].. bob, i'm curious as 2 by u're assuming that the text ur quoting is muddy in terms of comprehension/meaning? do u think the terminology is inappropriate or unclear? chunks, mez On Tue, Feb 3, 2009 at 8:33 AM, bob catchpole *bobcatchp...@yahoo.co.uk* wrote: Yann, The other day someone posted on this list about a project that was a research platform... on the potential of translocally networked spatial practices. The project, it was claimed, investigates urban network processes, spaces of geocultural crises, and forms of cultural participation and self-determination in which sites of alternative urban engagement are collected on a
Re: [NetBehaviour] Does it mean something?
btw. what the hell does your text is eloquence personified mean? shoutsrob!/shouts can you translate that for us please? cheers mate ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The Jeremy Bailey Interview on the Netbehaviour.
really enjoying this interview format. so many listserv mails are enormously long and discourage reading whilst this piecemeal approach is much less overwhelming and you get to enjoy the dialogue as it rolls along through time, bit like keeping up with a soap opera. 2008/9/11 marc garrett [EMAIL PROTECTED] Hi Jeremy, It is interesting how well the main image that you have designed for 'WarMail', relates to the references you have posted. This shows an attention to fine detail, not just with respect to the colour used, but also the form and composition. The triangle used in 'WarMail' symbolically could be associated to the American One Dollar Bill (I'm using a shorter link here just to be practical for the list) http://tinyurl.com/6paf9x - it also seems fitting that the latin words 'Novus ordo seclorum' when translated mean 'New Order of the Ages'. Scary stuff, almost Star Wars rhetoric. The phrase Novus ordo seclorum (Latin for New Order of the Ages) appears on the reverse of the Great Seal of the United States, first designed in 1782 and printed on the back of the American dollar bill since 1935... The phrase is often mistranslated as New World Order, but the Latin for that phrase would be Novus Ordo Mundi. Wikipedia - http://tinyurl.com/5jqgcs So, I have two questions. The first is whether you were conscious of these connections? The other is asking if you could share with us the context and processes of the 'WarMail' performance at the Gallery next Friday? marc Hi Marc, everyone, The Logo is inspired by diverse sources, the primary purpose is for it to look and feel a lot like the contents of next Friday's performance. I work a lot in graphic arts and advertising and I often try and reflect current cultural trends/aesthetics in my own artwork work to discuss the interplay between the way information is designed and the way it is received. In other words, the way things look right now have a lot to do with the way things are right now and vice versa. I'm currently very interested in recent revivals in 80s aesthetics, especially the use of airbrushed 3d Wireframe models and the combination of certain colours like the teal and red pictured in the logo. This look is obviously apparent in a lot of early videogames, and computer visualizations. I suppose it originally existed as a limitation of graphics power but evolved into an aesthetic that represents something else. I've also been looking at a lot of Op art and cold war computer interfaces. for those more visual below is a list of links to inspired sources. Op Art, Richard Anuszkiewicz http://www.okcmoa.com/~okcmoa/files/u1/Anuszkiewicz__Diamond_Chroma__1968.091.jpghttp://www.okcmoa.com/%7Eokcmoa/files/u1/Anuszkiewicz__Diamond_Chroma__1968.091.jpg Daft Punk, Alive Logo: http://upload.wikimedia.org/wikipedia/en/4/49/Daft_Punk_Alive_2007.JPG Tron, Poster: http://www.galacticawatercooler.com/wp-content/uploads/2007/11/post-tron.jpg more Tron artwork: http://pics.livejournal.com/xray_studios/pic/0002q0k2/s640x480 Kavinsky Album Art: http://ecx.images-amazon.com/images/I/51XUwgQCmmL._SL500_AA280_.jpg Metallica Logo: http://www.freewebs.com/d4wg/metallica.jpg American One Dollar Bill: http://www.kumah.org/uploaded_images/OneDollar_NovusOrdoSeclorum-704631.jpg Asteroids Deluxe Artwork: http://i.cdn.turner.com/gametap/web30/games/120018050/AsteroidsDeluxe_ARC_Atari_205_914b0.PNG Iron Man, the movie's computer interface http://www.denofgeek.com/siteimage/scale/800/600/21640.png FA 18 Fighter cockpit: http://www.ausairpower.net/FA-18D-Cockpit-Night-Attack-S.jpg jeremy On Thu, Sep 11, 2008 at 4:10 PM, marc garrett [EMAIL PROTECTED] wrote: A warm welcome to Netbehaviour Jeremy, I want to begin by discussing 'WarMail' which will be performed with a participating audience at the HTTP Gallery next Friday the 19th. I am intrigued by the image that you are using to represent this project. It looks as if it might be referring to a Star Wars film poster, but I am sure that this is not the case. Could you enlighten us on how this image came about? marc ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] International tree climbing day
kids, i musta missed this one. how did i manage that?!? 'know its too late now but just replying in case LEST-WE-FORGET 29th April is the annual jamboree that is International No Golf Day, definitely worth putting in your various and doubtless-quite-full-already diaries. lets be careful out there, no birdies on the 13th. (Original post was to furtherfield.org from Kayle Brandon) Dear Friends This Sunday we invite you participate in International tree climbing day; A day for climbing trees. The location of this activity is predominantly anywhere where you are and they are. Also there is a list of specific places, location updates are posted to the site as they come in, mail if you would like to add your coordinates. See you in the branches ... http://duo.irational.org/international_tree_climbing_day/ - INTERNATIONAL TREE CLIMBING DAY LIBERATE THE HORIZONTAL INTEGRATE THE VERTICAL SUPER-SURFACE SUNDAY 30TH MARCH 2008 FROM 13.00 ONWARDS Become routed in ascents, transitions, swings and jumps. Take Supplies. Lets hope it doesn't rain. LOCATIONS: UK BRISTOL ASHTON COURT UK SUFFOLK UK LONDON HAMPSTEAD HEATH UK CORNWALL TREBAH GARDENS SPAIN BARCELONA ALL ASPECTS ROMANIA BUCHAREST PORTUGAL PORTO USA LOS ANGELES ELYSIAN PARK ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] *** SPAM *** Re: *** SPAM *** Open Call –,video works for LIAF 2008.
'with friends like these' was a great article, thanks for that marc. whene facebook first surfaced in my life last year i noticed that it smelled a bit off. although i couldn't put my finger on quite why i just suspected there was something amiss there. so i put it permanently on the backburner, for which i was once memorably branded a 'sweet old hippy' by a colleague in stark contrast i signed up to netbehaviours ning account five minutes after reading about it. i'm enormously busy with work right now but im hoping it might lead to someinteresting collaboration in the future. :) On 16 Jan 2008, at 23:55, marc garrett wrote: Hi Annie, With friends like these ... , is a very interesting article. It kind of reinforces my own questions regarding these platforms being run by those who do not care or even know the context of the people who use them. As in, they are only interested in money really, not the art etc... Our recent experiment with ning for Netbehaviour is to try and build a social networking group that relates more to our own shared practices and interests, administrated by those who give a damn. This is the correct link http://netbehaviour.ning.com We are not sure what is going to happen with the ning project, but people are joining it and seem to uploading a lot of interesting material. It's a bit like this list but visual I suppose, plus facilities for uploading audio, video and images as well as offering who ever joins their own blog page, which connects to the main Netbehaviour ning blog. I't the kind of thing that we have trying to do with Furtherfield, but we just hasve not had the money or time to build something so effective. So we thought why not jump on someone else's system and learn about it with others as a community, and then perhaps we can build something similar with Drupal code in the future, but for now we can all have fun on the current one. wishing you well. marc thanks Marc about With friends like these ... I definately should take time to join and try your netbehavior http://netbehaviour.ning.com/?xgi=hDxUOQd I will On Jan 16, 2008 6:12 PM, marc garrett [EMAIL PROTECTED] wrote: Hi Annie, I'm not sure if it's a translation thing, or a continual growing community. marc This call made me realize I don't know exactly what is meant by expanded community Could someone explain, or give a link please On Jan 16, 2008 2:37 PM, marc garrett [EMAIL PROTECTED] wrote: *Open Call –* *video works for LIAF 2008* *Lofoten International Art Festival* invites you to send video material for their forthcoming screening program. The program will be shown on different sites throughout the Lofoten Islands as well as at the transit- areas and ports to Lofoten Islands. The festival opens 14th June and closes 7th September 2008. The co-curators of LIAF 2008, Taru Elfving and Rickard Borgström, aim to create an event that involves the local inhabitants and the participating artists in a dialogue around the questions of sustainable future and expanded community. More than a thematic frame these notions give the curators and the artists an ethos and, furthermore, inform the structure and modes of practice of the coming festival. The festival hopes to act as an opening, initiating encounters and shared visions in the present of the yet-to-come. If you are interested, please send us a DVD and a short description of the work(s) to LIAF- open call, Post Box 285, NO- 8301 Svolvær, Norway *Deadline for submissions is 25th Feburary 2008.* The video works should not be longer than 10 minutes. For further information contact LIAF at [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] Some information on Lofoten islands and the festival: Lofoten is an archipelago with a unique and fragile ecosystem located in the Northern Atlantic Ocean above the Arctic Circle. It is becoming increasingly charged as a political arena due to the national resources, fish and oil. Simultaneously the expanding tourist industry is making its mark on the islands and the local community. LIAF (Lofoten International Art Festival) is a contemporary art festival that takes place every second summer at Lofoten islands in Northern Norway. The festival is entering a new phase with an emphasis on site-specificity and commissioned work. For further information on the festival see www.liaf.no http://www.liaf.no/ Fax: +47 73 52 06 74 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour
Re: [NetBehaviour] Is programming an art or a science? Part II.
beautifully put geert, thank you. really clear. i enjoy these discussional threads but rarely - for me anyway - does an email come out of them worth saving. i'll keep this one. :) r. Thanks for your message. I hope things turn out alright for your relative. Fundamentals matter -- but they are very hard to articulate. Which is probably why I admire a writer such as Heidegger, who poses and analyzes questions around Art, Being and Work. (I'm reading Heidegger at the moment -- ask me the same in a couple of months time, it might be another.) What interests me most is that he (and others who succeed in at least asking the question in any detail) have found a method to discuss the problem posed. In Heidegger, the method has to do with the close reading of his (Greek) predecessors, the detailed analysis of their language. This close proximity to language is an important part of his work, IS his work. He works through language, language is his clay. For an artist to want to discuss art in this manner is something of a misnomer. An artist lives through art, defines art by making art. The object of his/her proximity is another -- it is, of course, the ground with which is worked. This might be taken quite literally as in a traditional sculptor, or might be more abstract, or more ethereal. It might be TCP/IP. I'd say that this proximity to the ground material matters very much for the artist. And perhaps that is what you were saying by using the word intention. Proximity - nearness in time, space, relationship - to the ground material is what sets the artist apart from the craftsman. Its a mindset that makes the artist want to get really close to the materials, to really get to know each detail. Lyotards Libidinal Economy uses the metaphor of the (human) skin and I think a quote from this work will serve nicely to make my point. Here, the reader is in first person view as s/he is lead over the skin as over a landscape. This is a small segment of the first chapter The Great Ephemeral Skin: Opening the Libidinal Surface - Open the so-called body and spread out all its surfaces: not only the skin with each of is folds, wrinkles, scars, with its great velvety planes, and contiguous to that, the scalp and the mane of hair, the tender pubic fur, nipples, nails, hard transparent skin under the heel, the light frills of the eyelids, set with lashes - but open and spread, ... Its this closeness to the base material that I'm interested in, and I think that this proximity is the most important difference between the intention of the artist vs that of the crafts. It's a closeness that could also be called love. Geert Dekkers--- http://nznl.com | http://nznl.org | http://nznl.net --- On 8/05/2007, at 2:06 PM, marc wrote: Hi Geert, Sorry for not answering when you first posted regarding this subject, but a relative of mine is in hopsital, so I have been deeply involved in visiting them and trying to hold the fort at this end at the same time... ... I have always found creativity interesting when (whether it is craft based, art or programming) cross-overs occur. For me, this is when things really begin to get interesting and more than usual, a bit messy around the edges. The relationship of things and how they connect and what comes about during and after this process is always fascinating but sometimes can confuse the best and worst of us, and in between. You say intention matters -- you might mean that there is a difference between programming in order to make a work of art, and programming in order to make a work of science. Or you might mean that programming as an artist is different in some way from programming as a scientist. I probably approach this subject quite naturally with a spirit of an artist, but am also aware that I have to acknowledge there are other factors that influence or shape things as well. Net artists use code and also programme, they are conscious about having to be creative whilst engaged in the crossover of mixing different elements and skills to make a work that uses technology as part of the make-up of their work. So the question then becomes: how is programming a piece of equipment conceptually related to the science project? Any concrete example of a project could clarify this. This is a decent question, but I cannot answert that one... Even though we are aware that a universality is not a true method of understanding things these days, we cannot ignore that things are still connected. Perhaps not in a way that actively compensates a mechanistic framework of scientific understanding, but more in a context that in its nature comes about through cultural shifts and advancements in theory, practice and cross-over anomilies, which are more intuitively processed via acts of shared human behaviour, rather than through logical finites or
