[NetBehaviour] New furtherfield site / The Game
The new site looks so, so much better. Also, nice to see The Game from Star Trek TNG referenced, one of my favorites. It's an interesting choice because there, it's the kids who resist -- perhaps we adults, by making social media lame (the way we did Facebook), will help drive younger people to see it for what it is. - Daniel ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] NetBehaviour Digest, Vol 3233, Issue 1
Are. On Tue, Oct 24, 2017 at 7:00 AM, wrote: > Send NetBehaviour mailing list submissions to > netbehaviour@netbehaviour.org > > To subscribe or unsubscribe via the World Wide Web, visit > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > or, via email, send a message with subject or body 'help' to > netbehaviour-requ...@netbehaviour.org > > You can reach the person managing the list at > netbehaviour-ow...@netbehaviour.org > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of NetBehaviour digest..." > > > Today's Topics: > >1. Are we all? (Pall Thayer) > > > -- > > Message: 1 > Date: Tue, 24 Oct 2017 04:50:48 + > From: Pall Thayer > To: NetBehaviour for networked distributed creativity > > Subject: [NetBehaviour] Are we all? > Message-ID: > gmail.com> > Content-Type: text/plain; charset="utf-8" > > Perhaps that's a good question? Three of four of the headers on the new > front page start with "Are we all..." So let's address that question. Are > we all? Are we all that we want to do? Are we all that we can be? Are we > all aligned? And the biggest question of all, "Are we?" > -- > P Thayer, Artist > http://pallthayer.dyndns.org > -- next part -- > An HTML attachment was scrubbed... > URL: <http://www.netbehaviour.org/pipermail/netbehaviour/ > attachments/20171024/3c8edf79/attachment-0001.html> > > -- > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > End of NetBehaviour Digest, Vol 3233, Issue 1 > * > -- - *Anthony Stephenson* *http://anthonystephenson.org/* <http://anthonystephenson.org/> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Are we all?
Perhaps that's a good question? Three of four of the headers on the new front page start with "Are we all..." So let's address that question. Are we all? Are we all that we want to do? Are we all that we can be? Are we all aligned? And the biggest question of all, "Are we?" -- P Thayer, Artist http://pallthayer.dyndns.org _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Ennui Spiralingula
Ennui Spiralingula all been here, psychologist's diary, compressed http://www.alansondheim.org/pr1.png http://www.alansondheim.org/pry.png 5:52PM up 42 days, 16:47, 35 users, load averages: 0.05, 0.07, 0.08 /// /// /// Saturday morning Woke up at 9; the club let out around 2, construction downstairs started 8:30. Bad dream of havoc on a ferry/bridge - anger among drivers, one them high- speed, some guy, crashing into other cars, smashing everything, I ran downstairs, there were lot belongings, everyone owned them, saved myself, think Azure was as well, not sure. When woke, chaos disappeared, just noise from downstairs. As usual, along with noise, social science is deafening. No thinking about anything in particular, sense despair. got up, put news on, etc., so that wouldn't wake Azure. Got online. Feel there's absolutely nothing to look forward to, here Providence. (The new media field I'm growing, developing, by leaps and bounds; being isolated like this keeps my work growing; friends are all working for various institutions, have access tools. The latest fast-developing augmented reality. So start spiraling lack tools, do but use usual oldfashioned ones text/image/video etc.) night Will try sleep, bit, feeling I've accomplished today all, worried I'll be cut off few contacts have. Today Yom Kippur, online phone helping bit. Too many regrets life. October 1st, Sunday Better sleep last 5 hours early avoid problems. evening, spiraling. This kind email end writing: Hi writing ask if you any ideas re: below; we're still pretty much same situation (although showing more, music/articles coming out, etc.). We can travel times November on; trying move. Thanks greatly, hoping your semester going well! love Alan need these 'begging letters' survive, they make me feel miserable... --- points taken 4-5 naps exhausted, brain fog, can't straight. It's hard deal when tired. My despair control crazed adds it. too tired matter think... Tuesday Yesterday napped 3 times, went walk. Slept ok began real despair, bed after hours' sleep. diet may or helping. keep over people who dropped touch us Providence, more emails elsewhere, those letters,' find way staying here. Wednesday morning, 5:55 a.m. Can't again, badly. stand this, death; Providence than void me. waiting answer. dreams, something battery distance needs changed, seashore. Things mixed Las Vegas, musician friend recorded lives there. bad only get meander online, it doesn't good; wrecked tomorrow (today) again All Friday Last ok, that's because several traumas occurred, literally, Thursday; worn exhausted. slept somewhat, exhausted today. What's events knew gone through, arrest, hospitalization, death three different people. really decided take week go Acadia recuperate... day Having time awake today, thoughts related traumas. Even though somewhat night, 4 stay an even keel. We're earlier tonight, early, 8:30; 1:30. 2:30 am took 1/4 trazodone, mind badly no particular thoughts, dropping void, close ears. Utterly exhausted; we 8:15 morning. Following news, haven't been sleeping well. Getting melatonin, might help. strength/calm mantra. beginning problem constant breakdown circadian rhythms. yesterday fairly fine, before, terrible. always death. then better without melatonin. Waking horrible political situation, both hearing Trump. FODMAP diary making mess food, snacking result Monday woke dying giving things away beforehand (rare musical instruments, books, etc.), continue their existence gone. Was very morose, tried mantras (breathing strength / calm), finally enough Another person worked closely died; hadn't while, less devastating. These couple weeks; will difference, sure... If stop spiral control. coast next taking trip 8 days; it... terrible pain muscles arms legs, well surface right big toe?? don't know what from; Dr. blood tests which came negative, heard back moaning tears think, Then 800 mg bufferin hour. worrying completely incapacitated. idea point; scared every night. well; tend drop out. melatonin most nights more; it's easy foggy day. But mess, heading downward least place misery. does help good days (except recently news); bad, pessimistic usually (genocide, terror, etc. extremes play large part do). 10:00PM up 42 days, 20:55, 37 users, load averages: 0.06, 0.10, 0.08 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Spiral Hotspot
Spiral Hotspot http://www.mariosantamaria.net/Hotspot-Disrouting Wireless connection using TOR exit nodes. With the collaboration of Matteo Zappa <https://techblog.rebus.cat/2017/09/flag-switcher/>. Code <https://techblog.rebus.cat/2017/09/flag-switcher/>. Produced for the exhibition Daydreaming subverts the world <http://www.nieuwevide.nl/programma/subverts-the-world>, curated by Lennard Dost. The exhibition can be visited until November 5 in NieuweVide, Haarlem, Netherlands. best, mario Mario Santamaría www.mariosantamaria.net <http://www.marioSantamaria.net> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
A piece about the "runningness" of code art:
http://pallthayer.dyndns.org/stealthiscodeart/index.php?id=13
On Fri, Oct 20, 2017 at 12:43 PM Anthony Stephenson
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> - *Anthony Stephenson*
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> *http://anthonystephenson.org/* <http://anthonystephenson.org/>
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> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
--
P Thayer, Artist
http://pallthayer.dyndns.org
___
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Re: [NetBehaviour] Maecenas
nothing
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font-size: 150px;
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--
- *Anthony Stephenson*
*http://anthonystephenson.org/* <http://anthonystephenson.org/>
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Re: [NetBehaviour] Maecenas
ow wrote: >>>>> Not sure this is the best tool >>>>> https://etherpad.net/p/MarlyStudiedTheQuotations >>>>> >>>>> but a place to start >>>>> >>>>> On 15/10/17 16:15, ruth catlow wrote: >>>>>> I'd be up for thinking this one through. >>>>>> Let's do it. >>>>>> >>>>>> On 13/10/17 20:34, Edward Picot wrote: >>>>>>> Oops! Apologies for posting this twice. I thought the first one hadn't >>>>>>> worked. >>>>>>> >>>>>>> On 13/10/17 19:10, Edward Picot wrote: >>>>>>>> Can't we do something with this? Couldn't we create a conceptual work >>>>>>>> of art that didn't actually exist at all - we could use some ideas >>>>>>>> from Curt Cloninger's 'Essay About Nothing' to represent it - and >>>>>>>> market shares in it via the Blockchain? Proceeds to Furtherfield, >>>>>>>> unless the value went above a trillion dollars, in which case I want a >>>>>>>> cut. >>>>>>>> >>>>>>>> Edward >>>>>>>> >>>>>>>> On 11/10/17 18:56, Rob Myers wrote: >>>>>>>>> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: >>>>>>>>>> Perfectly put Helen! >>>>>>>>>> Art reframed as a new asset class for fractional ownership ain't my >>>>>>>>>> idea of utopia. >>>>>>>>> >>>>>>>>> """Marly studied the quotations. Pollock was down again. This, she >>>>>>>>> supposed, was the aspect of art that she had the most difficulty >>>>>>>>> understanding. Picard, if that was the man's name, was speaking with >>>>>>>>> a broker in New York, arranging the purchase of a certain number of >>>>>>>>> "points" of the work of a particular artist. A "point" might be >>>>>>>>> defined in any number of ways, depending on the medium involved, but >>>>>>>>> it was almost certain that Picard would never see the works he was >>>>>>>>> purchasing. If the artist enjoyed sufficient status, the originals >>>>>>>>> were very likely crated away in some vault, where no one saw them at >>>>>>>>> all. Days or years later, Picard might pick up that same phone and >>>>>>>>> order the broker to sell. """ >>>>>>>>> >>>>>>>>> - William Gibson, "Count Zero", 1986. >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> ___ >>>>>>>>> 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 >>>>>> >>>>>> -- >>>>>> Co-founder Co-director >>>>>> Furtherfield >>>>>> >>>>>> www.furtherfield.org >>>>>> >>>>>> +44 (0) 77370 02879 >>>>>> >>>>>> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >>>>>> >>>>>> Furtherfield is the UK's leading organisation for art shows, labs, & >>>>>> debates >>>>>> around critical questions in art and technology, since 1997 >>>>>> >>>>>> Furtherfield is a Not-for-Profit Company limited by Guarantee >>>>>> registered in England and Wales under the Company No.7005205. >>>>>> Registered business address: Ballard Newman, Apex House, Grand Arcade, >>>>>> Tally Ho Corner, London N12 0EH. >>>>>> >>>>>> >>>>>> ___ >>>>>> NetBehaviour mailing list >>>>>> >>>>>> NetBehaviour@netbehaviour.org >>>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>>> >>>>> -- >>>>> Co-founder Co-director >>>>> Furtherfield >>>>> >>>>> www.furtherfield.org >>>>> >>>>> +44 (0) 77370 02879 >>>>> >>>>> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >>>>> >>>>> Furtherfield is the UK's leading organisation for art shows, labs, & >>>>> debates >>>>> around critical questions in art and technology, since 1997 >>>>> >>>>> Furtherfield is a Not-for-Profit Company limited by Guarantee >>>>> registered in England and Wales under the Company No.7005205. >>>>> Registered business address: Ballard Newman, Apex House, Grand Arcade, >>>>> Tally Ho Corner, London N12 0EH. >>>>> >>>>> >>>>> ___ >>>>> 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 > > -- > helen varley jamieson > he...@creative-catalyst.com > http://www.creative-catalyst.com > http://www.upstage.org.nz > ___ > 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] Maecenas
> work of art that didn't actually exist at all - we could use >>>>>>> some ideas from Curt Cloninger's 'Essay About Nothing' to >>>>>>> represent it - and market shares in it via the Blockchain? >>>>>>> Proceeds to Furtherfield, unless the value went above a trillion >>>>>>> dollars, in which case I want a cut. >>>>>>> >>>>>>> Edward >>>>>>> >>>>>>> On 11/10/17 18:56, Rob Myers wrote: >>>>>>>> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: >>>>>>>>> Perfectly put Helen! >>>>>>>>> Art reframed as a new asset class for fractional ownership >>>>>>>>> ain't my idea of utopia. >>>>>>>> >>>>>>>> """Marly studied the quotations. Pollock was down again. This, >>>>>>>> she supposed, was the aspect of art that she had the most >>>>>>>> difficulty understanding. Picard, if that was the man's name, >>>>>>>> was speaking with a broker in New York, arranging the purchase >>>>>>>> of a certain number of "points" of the work of a particular >>>>>>>> artist. A "point" might be defined in any number of ways, >>>>>>>> depending on the medium involved, but it was almost certain >>>>>>>> that Picard would never see the works he was purchasing. If the >>>>>>>> artist enjoyed sufficient status, the originals were very >>>>>>>> likely crated away in some vault, where no one saw them at all. >>>>>>>> Days or years later, Picard might pick up that same phone and >>>>>>>> order the broker to sell. """ >>>>>>>> >>>>>>>> - William Gibson, "Count Zero", 1986. >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> ___ >>>>>>>> NetBehaviour mailing list >>>>>>>> NetBehaviour@netbehaviour.org >>>>>>>> <mailto:NetBehaviour@netbehaviour.org> >>>>>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> ___ >>>>>>> NetBehaviour mailing list >>>>>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> _______ >>>>>> NetBehaviour mailing list >>>>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>>> >>>>> >>>>> -- >>>>> Co-founder Co-director >>>>> Furtherfield >>>>> >>>>> www.furtherfield.org <http://www.furtherfield.org> >>>>> >>>>> +44 (0) 77370 02879 >>>>> >>>>> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >>>>> >>>>> Furtherfield is the UK's leading organisation for art shows, labs, >>>>> & debates >>>>> around critical questions in art and technology, since 1997 >>>>> >>>>> Furtherfield is a Not-for-Profit Company limited by Guarantee >>>>> registered in England and Wales under the Company No.7005205. >>>>> Registered business address: Ballard Newman, Apex House, Grand >>>>> Arcade, Tally Ho Corner, London N12 0EH. >>>>> >>>>> >>>>> ___ >>>>> NetBehaviour mailing list >>>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>>> >>>> -- >>>> Co-founder Co-director >>>> Furtherfield >>>> >>>> www.furtherfield.org <http://www.furtherfield.org> >>>> >>>> +44 (0) 77370 02879 >>>> >>>> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >>>> >>>> Furtherfield is the UK's leading organisation for art shows, labs, >>>> & debates >>>> around critical questions in art and technology, since 1997 >>>> >>>> Furtherfield is a Not-for-Profit Company limited by Guarantee >>>> registered in England and Wales under the Company No.7005205. >>>> Registered business address: Ballard Newman, Apex House, Grand >>>> Arcade, Tally Ho Corner, London N12 0EH. >>>> >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> >>> >>> _ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org <mailto: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 -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
how about all the men on this list take it on to tweet/talk about this, and any other incidents - big or small - that they're aware of? it isn't only women's responsibility to be constantly trying to draw attention to the problem, it's also men's responsibility to stop standing by silently letting this stuff keep happening, as if it's normal. h : ) On 20.10.2017 07:56, AGF poemproducer wrote: >> On 20 Oct 2017, at 01:04, marc.garrett wrote: >> >> What a soulless slug this person must be. > > haha - thanks for that > > Gretta, if you like we can tweet something humilating via female pressure > account, which i am co-running > i am sick of letting this stuff slip, we can design the tweet together ??? > > I am pro publicly calling out soulless slugs! > it is a question of tools > > speaking of tools > > have you all heard of > https://pursuanceproject.org/ > @PursuanceProj > > i am becoming quite hopeful with this > it is not an easy way out > > but i think it could be something > > peas > agee > > > > > > > ***sound & curation > AGF: twitter @poemproducer > www.poemproducer.com > www.antyegreie.com > > DOCUMENTA14 > #DISembTEChyb > https://www.mixcloud.com/SAVVY_Funk/playlists/disembtechyb/ > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] A very big number
The magnitude of this first term, g1, is so large that it is practically incomprehensible, even though the above display is relatively easy to comprehend. Even n, the mere number of towersin this formula for g1, is far greater than the number of Planck volumes (roughly 10185 of them) into which one can imagine subdividing the observable universe. And after this first term, still another 63 terms remain in the rapidly growing g sequence before Graham's number G= g64 is reached. To illustrate just how fast this sequence grows, while g1 is equal to with only four up arrows, the number of up arrows in g2 is this incomprehensibly large number g1. -- Sent from my Android device with K-9 Mail. Please excuse my brevity.___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
> On 20 Oct 2017, at 01:04, marc.garrett wrote: > > What a soulless slug this person must be. haha - thanks for that Gretta, if you like we can tweet something humilating via female pressure account, which i am co-running i am sick of letting this stuff slip, we can design the tweet together ??? I am pro publicly calling out soulless slugs! it is a question of tools speaking of tools have you all heard of https://pursuanceproject.org/ @PursuanceProj i am becoming quite hopeful with this it is not an easy way out but i think it could be something peas agee ***sound & curation AGF: twitter @poemproducer www.poemproducer.com www.antyegreie.com DOCUMENTA14 > #DISembTEChyb https://www.mixcloud.com/SAVVY_Funk/playlists/disembtechyb/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] con/against text
http://www.npr.org/sections/thetwo-way/2011/07/22/138513048/woman-pays-10-000-for-non-visible-work-of-art https://creators.vice.com/en_us/article/8qvv9v/seeing-isnt-always-believing-when-it-comes-to-invisible-art https://f.hypotheses.org/wp-content/blogs.dir/2271/files/2017/06/CHING.pdf https://en.wikipedia.org/wiki/Terry_Fugate-Wilcox https://en.wikipedia.org/wiki/Robert_Barry_(artist) http://www.nytimes.com/2003/11/30/nyregion/a-career-built-on-exploring-the-boundaries-of-art.html https://www.theguardian.com/artanddesign/jonathanjonesblog/2014/sep/30/invisible-art-hoax-lana-newstrom-cbc http://www.alansondheim.org/not.jpg http://hmpg.net/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Now that I think about it, I could see ownership of ephemeral art becoming a thing... an investor is at a party and someone says, "We just bought a De Kooning. It's hanging in our living room." "Well, I just bought 5% in a Pall Thayer and it doesn't even exist any more." Top that! On Thu, Oct 19, 2017 at 6:09 PM marc.garrett wrote: > Hi Gretta, > > What a soulless slug this person must be. > > This is what I hate about the art world, and sadly - certain aspects of > media art culture has shifted towards this direction, more than ever now. > > It's a double bind for artists -- to get a show one has to be nice to some > of these assholes, or end up becoming like them, and this means they can > get away with a lot nonsense. > > Wishing you well. > > marc > > Marc Garrett > > Marc Garrett > > Co-Founder, Co-Director and main editor of Furtherfield. > Art, technology and social change, since 1996 > http://www.furtherfield.org > > Furtherfield Gallery & Commons in the park > Finsbury Park, London N4 2NQ > http://www.furtherfield.org/gallery > Currently writing a PhD at Birkbeck University, London > https://birkbeck.academia.edu/MarcGarrett > Just published: Artists Re:thinking the Blockchain > Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner > Liverpool Press - http://bit.ly/2x8XlMK > > Sent with ProtonMail <https://protonmail.com> Secure Email. > > Original Message > Subject: Re: [NetBehaviour] Maecenas > > Local Time: 18 October 2017 11:52 AM > UTC Time: 18 October 2017 10:52 > From: gretta.elise.l...@gmail.com > To: marc.garrett , NetBehaviour for > networked distributed creativity > > Had another frustrating (yet, fundamentally unsurprising) incident since I > sent that email in which a museum director matter-of-factly told me that > all of the greatest artists in history were men and after I strenuously > argued against that, we continued discussing the work we were cooperating > on… well let’s just say that in the end, a few days later, the museum > decided that they didn’t have the budget after all to acquire the piece of > mine that they’d been interested in. I wonder what changed?? ;) > > > > > On 18. Oct 2017, at 10:40, marc.garrett > wrote: > > Hi Gretta, > > I scrolled the page & just saw that it was mainly men, perhaps it's > synonymous with aspects of Modernism ;-) > > wishing you well. > > marc > > Marc Garrett > > Co-Founder, Co-Director and main editor of Furtherfield. > Art, technology and social change, since 1996 > http://www.furtherfield.org > > Furtherfield Gallery & Commons in the park > Finsbury Park, London N4 2NQ > http://www.furtherfield.org/gallery > Currently writing a PhD at Birkbeck University, London > https://birkbeck.academia.edu/MarcGarrett > Just published: Artists Re:thinking the Blockchain > Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner > Liverpool Press - http://bit.ly/2x8XlMK > > Sent with ProtonMail <https://protonmail.com/> Secure Email. > > Original Message > Subject: Re: [NetBehaviour] Maecenas > Local Time: 16 October 2017 2:11 PM > UTC Time: 16 October 2017 13:11 > From: sondh...@panix.com > To: NetBehaviour for networked distributed creativity < > netbehaviour@netbehaviour.org> > > > Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, > etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also > Hannah Wilke, etc. A pretty mixed group. Most of the hard-core > conceptualists were male, but there are also Adrian Piper, the Guerilla > Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who > spanned conceptualism and physical/person production as well. > >- Alan > >On Mon, 16 Oct 2017, Gretta Louw wrote: > > It?s interesting to me that artists working with immaterial / non-existent > artworks in the past are so overwhelmingly male, but I don?t know yet what > it > means? > http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw > ork.html Something perhaps about the other side of the body art coin > perhaps? > > On 15. Oct 2017, at 17:15, ruth catlow >wrote: > > I'd be up for thinking this one through. > Let's do it. > On 13/10/17 20:34, Edward Picot wrote: > Oops! Apologies for posting this twice. I thought the > first one hadn't worked. > > On 13/10/17 19:10, Edward Picot wrote: > Can't we do something with this? Couldn't we create > a conceptual work of art that didn't actually exist > at all - we could use some ideas from Cur
Re: [NetBehaviour] Maecenas
Hi Gretta, What a soulless slug this person must be. This is what I hate about the art world, and sadly - certain aspects of media art culture has shifted towards this direction, more than ever now. It's a double bind for artists -- to get a show one has to be nice to some of these assholes, or end up becoming like them, and this means they can get away with a lot nonsense. Wishing you well. marc Marc Garrett Marc Garrett Co-Founder, Co-Director and main editor of Furtherfield. Art, technology and social change, since 1996 http://www.furtherfield.org Furtherfield Gallery & Commons in the park Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery Currently writing a PhD at Birkbeck University, London https://birkbeck.academia.edu/MarcGarrett Just published: Artists Re:thinking the Blockchain Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner Liverpool Press - http://bit.ly/2x8XlMK Sent with [ProtonMail](https://protonmail.com) Secure Email. > Original Message > Subject: Re: [NetBehaviour] Maecenas > Local Time: 18 October 2017 11:52 AM > UTC Time: 18 October 2017 10:52 > From: gretta.elise.l...@gmail.com > To: marc.garrett , NetBehaviour for networked > distributed creativity > > Had another frustrating (yet, fundamentally unsurprising) incident since I > sent that email in which a museum director matter-of-factly told me that all > of the greatest artists in history were men and after I strenuously argued > against that, we continued discussing the work we were cooperating on… well > let’s just say that in the end, a few days later, the museum decided that > they didn’t have the budget after all to acquire the piece of mine that > they’d been interested in. I wonder what changed?? ;) > >> On 18. Oct 2017, at 10:40, marc.garrett wrote: >> >> Hi Gretta, >> >> I scrolled the page & just saw that it was mainly men, perhaps it's >> synonymous with aspects of Modernism ;-) >> >> wishing you well. >> >> marc >> >> Marc Garrett >> >> Co-Founder, Co-Director and main editor of Furtherfield. >> Art, technology and social change, since 1996 >> [http://www.furtherfield.org](http://www.furtherfield.org/) >> >> Furtherfield Gallery & Commons in the park >> Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery >> Currently writing a PhD at Birkbeck University, London >> https://birkbeck.academia.edu/MarcGarrett >> Just published: Artists Re:thinking the Blockchain >> Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner >> Liverpool Press - http://bit.ly/2x8XlMK >> >> Sent with [ProtonMail](https://protonmail.com/) Secure Email. >> >>> Original Message >>> Subject: Re: [NetBehaviour] Maecenas >>> Local Time: 16 October 2017 2:11 PM >>> UTC Time: 16 October 2017 13:11 >>> From: sondh...@panix.com >>> To: NetBehaviour for networked distributed creativity >>> >>> >>> Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, >>> etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also >>> Hannah Wilke, etc. A pretty mixed group. Most of the hard-core >>> conceptualists were male, but there are also Adrian Piper, the Guerilla >>> Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who >>> spanned conceptualism and physical/person production as well. >>> >>> - Alan >>> >>> On Mon, 16 Oct 2017, Gretta Louw wrote: >>> >>>> It?s interesting to me that artists working with immaterial / non-existent >>>> artworks in the past are so overwhelmingly male, but I don?t know yet what >>>> it >>>> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw >>>> ork.html Something perhaps about the other side of the body art coin >>>> perhaps? >>>> >>>> On 15. Oct 2017, at 17:15, ruth catlow >>>> < >>>> ruth.cat...@furtherfield.org >>>>> wrote: >>>> >>>> I'd be up for thinking this one through. >>>> Let's do it. >>>> On 13/10/17 20:34, Edward Picot wrote: >>>> Oops! Apologies for posting this twice. I thought the >>>> first one hadn't worked. >>>> >>>> On 13/10/17 19:10, Edward Picot wrote: >>>> Can't we do something with this? Couldn't we create >>>> a conceptual work of art that didn't actually exist >>>> at all - we could use some ideas from Curt >>>>
Re: [NetBehaviour] Maecenas
roceeds to Furtherfield, unless the value went above a > trillion dollars, in which case I want a cut. > > Edward > > On 11/10/17 18:56, Rob Myers wrote: > > On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: > > Perfectly put Helen! > Art reframed as a new asset class for fractional ownership ain't my idea > of utopia. > > > """Marly studied the quotations. Pollock was down again. This, she > supposed, was the aspect of art that she had the most difficulty > understanding. Picard, if that was the man's name, was speaking with a > broker in New York, arranging the purchase of a certain number of "points" > of the work of a particular artist. A "point" might be defined in any > number of ways, depending on the medium involved, but it was almost certain > that Picard would never see the works he was purchasing. If the artist > enjoyed sufficient status, the originals were very likely crated away in > some vault, where no one saw them at all. Days or years later, Picard might > pick up that same phone and order the broker to sell. """ > > - William Gibson, "Count Zero", 1986. > > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > Co-founder Co-director > Furtherfield > > www.furtherfield.org > > +44 (0) 77370 02879 > > Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i > > Furtherfield is the UK's leading organisation for art shows, labs, & > debates > around critical questions in art and technology, since 1997 > > Furtherfield is a Not-for-Profit Company limited by Guarantee > registered in England and Wales under the Company No.7005205. > Registered business address: Ballard Newman, Apex House, Grand Arcade, > Tally Ho Corner, London N12 0EH. > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > Co-founder Co-director > Furtherfield > > www.furtherfield.org > > +44 (0) 77370 02879 > > Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i > > Furtherfield is the UK's leading organisation for art shows, labs, & > debates > around critical questions in art and technology, since 1997 > > Furtherfield is a Not-for-Profit Company limited by Guarantee > registered in England and Wales under the Company No.7005205. > Registered business address: Ballard Newman, Apex House, Grand Arcade, > Tally Ho Corner, London N12 0EH. > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > *___* > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Rob, As far as I'm concerned your help would be greatly appreciated. I've had several looks at Ethereum, but I don't feel at all confident that I could actually implement something and make it work. Your coloured art coins look as if they at least halfway there. Do I gather that you created 13 of each colour, and offered them for sale? On the presentational side of this, the art listed on Maecenas, according to their site, 'will be held in purpose-built art storage facilities that not only ensure that the artwork is safe but also guarantee that it’s properly looked after', and the ArtReview article mentions that artworks are 'increasingly bought to be hidden away in warehouses in the peculiar nonzones known as freeports - tax- and customs-free spaces where objects are, legally, indefinitely ‘in transit’ between countries'. So I was wondering if our non-existent artwork should have some kind of physical location. An empty crate housed at the Furtherfield gallery might be nice. The other option that occurred to me derives from Flann O'Brien's novel The Third Policeman. One of the policemen in the book (MacCruiskeen) has a hobby of making tiny boxes, each tinier than the previous one, which he keeps one inside the other. When he unpacks them the tiniest of the lot is completely invisible, and in fact there's really no way of telling that it exists at all. 'The one I am making now,' he says, 'is nearly as small as nothing.' So another option would be to say that our on-existent artwork was housed inside MacCruiskeen's tiniest box, and perhaps give a map-reference for it, whilst warning people that unfortunately it's so small that it can't be seen. What do other people think? Edward On 18/10/17 05:04, Rob Myers wrote: Yes I can help if anyone is interested. Precedent-wise there's - http://interaccess.org/event/2017/bitcoin-ethereum-and-conceptual-art Or my own - http://robmyers.org/art-coins-coloured/ But neither of these are *nothing*. :-) - Rob. On Sun, 15 Oct 2017, at 10:36 AM, Edward Picot wrote: Great! - I'm not sure where you go with it after that, though. You could offer something non-existent for sale on OpenBazaar easily enough. That would be one option. What appealed to me, though, was the idea of selling shares in a non-existent work of art, in the hope that the shares would keep changing hands and their value would keep increasing, so that if you retained something like a 25% stake in the work, that stake would keep increasing in value too. The paradox, of course, would be that by announcing that you were creating a non-existent work of art, and offering shares in it, you would in effect be creating an actual conceptual work of art about the marketing and the market value of art. That's why I thought the images from Curt Cloninger's essay about nothing would be appropriate (for advertising the existence, or rather non-existence, of the work and the availability of shares), because he's investigating the paradox that you can't create a representation of nothing without that representation being a something. I expect Rob could advise about how to set up the shares thing. Edward On 15/10/17 16:22, ruth catlow wrote: Not sure this is the best tool https://etherpad.net/p/MarlyStudiedTheQuotations but a place to start On 15/10/17 16:15, ruth catlow wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days
[NetBehaviour] from today's Washington Post
The fascist creep in action: Alan Sondheim Attorney General Jeff Sessions said on Wednesday that he reserves the right to jail journalists, if we have to. Here's his exchange with Sen. Amy Klobuchar (D-Minn.) during a Senate Judiciary Committee hearing: KLOBUCHAR: Will you commit to not putting reporters in jail for doing their jobs? SESSIONS: Well, I don't know that I can make a blanket commitment to that effect. But I would say this: We have not taken any aggressive action against the media at this point. But we have matters that involve the most serious national security issues, that put our country at risk, and we will utilize the authorities that we have, legally and constitutionally, if we have to. Maybe we we always try to find an alternative way, as you probably know, Sen. Klobuchar, to directly confronting a media person. But that's not a total, blanket protection. There is a lot of missing context here that Sessions would have been wise to include, if he were interested in avoiding panic. Sessions appeared to be reiterating a warning he issued in August, when he said that as part of the Justice Department's effort to prosecute government workers who make illegal disclosures of classified information, one of the things we are doing is reviewing policies affecting media subpoenas. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] murnau
murnau mourning for the lost bodies, lost americas http://www.alansondheim.org/murn1.jpg http://www.alansondheim.org/murn.mp3 Jordanian rababa http://www.alansondheim.org/murn2.jpg nothing is suitable nothing is ever suitable the etiquette of violence is the violence of etiquette the violence of etiquette is the violence of etiquette mr. trump is a war criminal. treat him accordingly +++ In July 2015 Murnau's grave was broken into, the remains disturbed and the skull removed by persons unknown.[15] Wax residue was reportedly found at the site, leading some to speculate that candles had been lit, perhaps with an occult or ceremonial significance. As this disturbance was not an isolated incident, the cemetery managers are considering sealing the grave. (Wikipedia) +++ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
good on you gretta, for not letting him get away with it (or at least, not without discussion ...). this kind of casual sexism really needs to be challenged, as in many ways it's even more insidious than the outright variety which is easier to call out. it reinforces women's invisibility & the idea that this state of affairs is somehow natural. who was the museum director and which museum? so at least those of us on this list can know who to avoid. (maybe we need a #metoo campaign for experiencing this kind of put-down in the arts ... ) h : ) On 18.10.2017 17:52, Alan Sondheim wrote: > > > It's the men who have traditionally gotten the most attention, but > there have always been many brilliant women; when I did Individuals in > 1974 for Dutton, the ratio was pretty much even, and when I curated > later at Nexus in Atlanta, it was the same. This is an issue and > prejudice on the part of cultural sexism, not on the part of the great > number of amazing woman artists I've known. The museum director is > obviously way out of line here and I wonder if he thinks all the men > he loves are white. > > Alan > > On Wed, 18 Oct 2017, Gretta Louw wrote: > >> Had another frustrating (yet, fundamentally unsurprising) incident >> since I >> sent that email in which a museum director matter-of-factly told me >> that all >> of the greatest artists in history were men and after I strenuously >> argued >> against that, we continued discussing the work we were cooperating >> on? well >> let?s just say that in the end, a few days later, the museum decided >> that they >> didn?t have the budget after all to acquire the piece of mine that >> they?d been >> interested in. I wonder what changed?? ;) >> >> >> >> >> On 18. Oct 2017, at 10:40, marc.garrett >> wrote: >> >> Hi Gretta, >> >> I scrolled the page & just saw that it was mainly men, perhaps it's >> synonymous with aspects of Modernism ;-) >> >> wishing you well. >> >> marc >> >> Marc Garrett >> >> Co-Founder, Co-Director and main editor of Furtherfield. >> Art, technology and social change, since 1996 >> http://www.furtherfield.org >> >> Furtherfield Gallery & Commons in the park >> Finsbury Park, London N4 2NQ >> http://www.furtherfield.org/gallery >> Currently writing a PhD at Birkbeck University, London >> https://birkbeck.academia.edu/MarcGarrett >> Just published: Artists Re:thinking the Blockchain >> Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner >> Liverpool Press - http://bit.ly/2x8XlMK >> >> Sent with ProtonMail Secure Email. >> >> Original Message >> Subject: Re: [NetBehaviour] Maecenas >> Local Time: 16 October 2017 2:11 PM >> UTC Time: 16 October 2017 13:11 >> From: sondh...@panix.com >> To: NetBehaviour for networked distributed creativity >> >> >> >> Body Art was both male and female, Gina Pane, Collette, Marina >> Abramovich, >> etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. >> Orridge, but also >> Hannah Wilke, etc. A pretty mixed group. Most of the hard-core >> conceptualists were male, but there are also Adrian Piper, the >> Guerilla >> Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, >> etc., who >> spanned conceptualism and physical/person production as well. >> * Alan >> >> On Mon, 16 Oct 2017, Gretta Louw wrote: >> It?s interesting to me that artists working with >> immaterial / non-existent >> artworks in the past are so overwhelmingly male, but I >> don?t know yet what it >> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisibl >> >> e-artw >> ork.html Something perhaps about the other side of the >> body art coin >> perhaps? >> >> On 15. Oct 2017, at 17:15, ruth catlow >> wrote: >> I'd be up for thinking this one through. >> Let's do it. >> On 13/10/17 20:34, Edward Picot wrote: >> Oops! Apologies for posting this twice. I thought the >> first one hadn't worked. >> >> On 13/10/17 19:10, Edward Picot wrote: >> Can't we do something with this? Couldn't we create >> a conceptual work of art that didn't actually exist >> at all - we could use some ideas from Curt >> Cloninger's 'Essay About Nothing' to represent it - >> and market shares in it via the Blockchain? Proceeds >> to Furtherfield, unless the value went above a >> tri
Re: [NetBehaviour] Maecenas
On Wed, 18 Oct 2017, at 03:52 AM, Gretta Louw wrote: > Had another frustrating (yet, fundamentally unsurprising) incident > since I sent that email in which a museum director matter-of-factly > told me that all of the greatest artists in history were men Gn. > and after I strenuously argued against that, we continued discussing > the work we were cooperating on… well let’s just say that in the end, > a few days later, the museum decided that they didn’t have the budget > after all to acquire the piece of mine that they’d been interested in. > I wonder what changed?? ;) No machine learning algorithm could possibly find a correlation... ;-) - Rob. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
It's the men who have traditionally gotten the most attention, but there have always been many brilliant women; when I did Individuals in 1974 for Dutton, the ratio was pretty much even, and when I curated later at Nexus in Atlanta, it was the same. This is an issue and prejudice on the part of cultural sexism, not on the part of the great number of amazing woman artists I've known. The museum director is obviously way out of line here and I wonder if he thinks all the men he loves are white. Alan On Wed, 18 Oct 2017, Gretta Louw wrote: Had another frustrating (yet, fundamentally unsurprising) incident since I sent that email in which a museum director matter-of-factly told me that all of the greatest artists in history were men and after I strenuously argued against that, we continued discussing the work we were cooperating on? well let?s just say that in the end, a few days later, the museum decided that they didn?t have the budget after all to acquire the piece of mine that they?d been interested in. I wonder what changed?? ;) On 18. Oct 2017, at 10:40, marc.garrett wrote: Hi Gretta, I scrolled the page & just saw that it was mainly men, perhaps it's synonymous with aspects of Modernism ;-) wishing you well. marc Marc Garrett Co-Founder, Co-Director and main editor of Furtherfield. Art, technology and social change, since 1996 http://www.furtherfield.org Furtherfield Gallery & Commons in the park Finsbury Park, London N4 2NQ http://www.furtherfield.org/gallery Currently writing a PhD at Birkbeck University, London https://birkbeck.academia.edu/MarcGarrett Just published: Artists Re:thinking the Blockchain Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner Liverpool Press - http://bit.ly/2x8XlMK Sent with ProtonMail Secure Email. Original Message Subject: Re: [NetBehaviour] Maecenas Local Time: 16 October 2017 2:11 PM UTC Time: 16 October 2017 13:11 From: sondh...@panix.com To: NetBehaviour for networked distributed creativity Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also Hannah Wilke, etc. A pretty mixed group. Most of the hard-core conceptualists were male, but there are also Adrian Piper, the Guerilla Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who spanned conceptualism and physical/person production as well. * Alan On Mon, 16 Oct 2017, Gretta Louw wrote: It?s interesting to me that artists working with immaterial / non-existent artworks in the past are so overwhelmingly male, but I don?t know yet what it means?http://www.modernedition.com/art-articles/absence-in-art/the-invisibl e-artw ork.html Something perhaps about the other side of the body art coin perhaps? On 15. Oct 2017, at 17:15, ruth catlow wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ * William Gibson, "Count Zero", 1986. ____ 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] Maecenas
Had another frustrating (yet, fundamentally unsurprising) incident since I sent that email in which a museum director matter-of-factly told me that all of the greatest artists in history were men and after I strenuously argued against that, we continued discussing the work we were cooperating on… well let’s just say that in the end, a few days later, the museum decided that they didn’t have the budget after all to acquire the piece of mine that they’d been interested in. I wonder what changed?? ;) > On 18. Oct 2017, at 10:40, marc.garrett wrote: > > Hi Gretta, > > I scrolled the page & just saw that it was mainly men, perhaps it's > synonymous with aspects of Modernism ;-) > > wishing you well. > > marc > > Marc Garrett > > Co-Founder, Co-Director and main editor of Furtherfield. > Art, technology and social change, since 1996 > http://www.furtherfield.org <http://www.furtherfield.org/> > > Furtherfield Gallery & Commons in the park > Finsbury Park, London N4 2NQ > http://www.furtherfield.org/gallery > <http://www.furtherfield.org/gallery> > Currently writing a PhD at Birkbeck University, London > https://birkbeck.academia.edu/MarcGarrett > <https://birkbeck.academia.edu/MarcGarrett> > Just published: Artists Re:thinking the Blockchain > Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner > Liverpool Press - http://bit.ly/2x8XlMK <http://bit.ly/2x8XlMK> > > Sent with ProtonMail <https://protonmail.com/> Secure Email. > >> Original Message >> Subject: Re: [NetBehaviour] Maecenas >> Local Time: 16 October 2017 2:11 PM >> UTC Time: 16 October 2017 13:11 >> From: sondh...@panix.com >> To: NetBehaviour for networked distributed creativity >> >> >> >> Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, >> etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also >> Hannah Wilke, etc. A pretty mixed group. Most of the hard-core >> conceptualists were male, but there are also Adrian Piper, the Guerilla >> Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who >> spanned conceptualism and physical/person production as well. >> Alan >> >> On Mon, 16 Oct 2017, Gretta Louw wrote: >> It?s interesting to me that artists working with immaterial / non-existent >> artworks in the past are so overwhelmingly male, but I don?t know yet what it >> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw >> >> <http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw> >> ork.html Something perhaps about the other side of the body art coin >> perhaps? >> On 15. Oct 2017, at 17:15, ruth catlow >>wrote: >> >> I'd be up for thinking this one through. >> Let's do it. >> On 13/10/17 20:34, Edward Picot wrote: >> Oops! Apologies for posting this twice. I thought the >> first one hadn't worked. >> On 13/10/17 19:10, Edward Picot wrote: >> Can't we do something with this? Couldn't we create >> a conceptual work of art that didn't actually exist >> at all - we could use some ideas from Curt >> Cloninger's 'Essay About Nothing' to represent it - >> and market shares in it via the Blockchain? Proceeds >> to Furtherfield, unless the value went above a >> trillion dollars, in which case I want a cut. >> >> Edward >> >> On 11/10/17 18:56, Rob Myers wrote: >> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow >> wrote: >> Perfectly put Helen! >> >> Art reframed as a new asset class for >> fractional ownership ain't my idea of utopia. >> """Marly studied the quotations. Pollock was down >> again. This, she supposed, was the aspect of art >> that she had the most difficulty understanding. >> Picard, if that was the man's name, was speaking >> with a broker in New York, arranging the purchase of >> a certain number of "points" of the work of a >> particular artist. A "point" might be defined in any >> number of ways, depending on the medium involved, >> but it was almost certain that Picard would never >> see the works he was purchasing. If the artist >> enjoyed sufficient status, the originals were very >> likely crated away in some vault, where no one saw >> them at all. Days or years later, Picard might pick >> up that same phone and order the broker to sell. """ >> William Gibson, "Count Zero", 1986. >> &g
[NetBehaviour] Senior Management - an Inspirational Guide' by Karen Blissett
Oh my... [Screenshot from 2017-10-18 09-48-36.png] I just revisted the 'Senior Management - an Inspirational Guide' by Karen Blissett. (Bastard daughter of Karen Eliot and Luther Blissett ) It reflects how empty and crap our world is at the moment, when it run by neoliberal idiots. On Youtube - http://bit.ly/2x3CY0x Marc Garrett Co-Founder, Co-Director and main editor of Furtherfield. Art, technology and social change, since 1996 http://www.furtherfield.org Furtherfield Gallery & Commons in the park Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery Currently writing a PhD at Birkbeck University, London https://birkbeck.academia.edu/MarcGarrett Just published: Artists Re:thinking the Blockchain Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner Liverpool Press - http://bit.ly/2x8XlMK Sent with [ProtonMail](https://protonmail.com) Secure Email.___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Hi Gretta, I scrolled the page & just saw that it was mainly men, perhaps it's synonymous with aspects of Modernism ;-) wishing you well. marc Marc Garrett Co-Founder, Co-Director and main editor of Furtherfield. Art, technology and social change, since 1996 http://www.furtherfield.org Furtherfield Gallery & Commons in the park Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery Currently writing a PhD at Birkbeck University, London https://birkbeck.academia.edu/MarcGarrett Just published: Artists Re:thinking the Blockchain Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner Liverpool Press - http://bit.ly/2x8XlMK Sent with [ProtonMail](https://protonmail.com) Secure Email. > Original Message ---- > Subject: Re: [NetBehaviour] Maecenas > Local Time: 16 October 2017 2:11 PM > UTC Time: 16 October 2017 13:11 > From: sondh...@panix.com > To: NetBehaviour for networked distributed creativity > > > Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, > etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also > Hannah Wilke, etc. A pretty mixed group. Most of the hard-core > conceptualists were male, but there are also Adrian Piper, the Guerilla > Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who > spanned conceptualism and physical/person production as well. > > - Alan > > On Mon, 16 Oct 2017, Gretta Louw wrote: > >> It?s interesting to me that artists working with immaterial / non-existent >> artworks in the past are so overwhelmingly male, but I don?t know yet what it >> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw >> ork.html Something perhaps about the other side of the body art coin >> perhaps? >> >> On 15. Oct 2017, at 17:15, ruth catlow >>wrote: >> >> I'd be up for thinking this one through. >> Let's do it. >> On 13/10/17 20:34, Edward Picot wrote: >> Oops! Apologies for posting this twice. I thought the >> first one hadn't worked. >> >> On 13/10/17 19:10, Edward Picot wrote: >> Can't we do something with this? Couldn't we create >> a conceptual work of art that didn't actually exist >> at all - we could use some ideas from Curt >> Cloninger's 'Essay About Nothing' to represent it - >> and market shares in it via the Blockchain? Proceeds >> to Furtherfield, unless the value went above a >> trillion dollars, in which case I want a cut. >> >> Edward >> >> On 11/10/17 18:56, Rob Myers wrote: >> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow >> wrote: >> Perfectly put Helen! >> >> Art reframed as a new asset class for >> fractional ownership ain't my idea of utopia. >> """Marly studied the quotations. Pollock was down >> again. This, she supposed, was the aspect of art >> that she had the most difficulty understanding. >> Picard, if that was the man's name, was speaking >> with a broker in New York, arranging the purchase of >> a certain number of "points" of the work of a >> particular artist. A "point" might be defined in any >> number of ways, depending on the medium involved, >> but it was almost certain that Picard would never >> see the works he was purchasing. If the artist >> enjoyed sufficient status, the originals were very >> likely crated away in some vault, where no one saw >> them at all. Days or years later, Picard might pick >> up that same phone and order the broker to sell. """ >> >> - William Gibson, "Count Zero", 1986. >> >> --- >> >> 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 >> -- >> Co-founder Co-director >> Furtherfield >> www.furtherfield.org >> +44 (0) 77370 02879 >> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >> Furtherfield is the UK's leading organisation for art shows, labs, & >> debates >> around critical questions in art and technology, since 1997 >> Furt
Re: [NetBehaviour] Maecenas
Yes I can help if anyone is interested. Precedent-wise there's - http://interaccess.org/event/2017/bitcoin-ethereum-and-conceptual-art Or my own - http://robmyers.org/art-coins-coloured/ But neither of these are *nothing*. :-) - Rob. On Sun, 15 Oct 2017, at 10:36 AM, Edward Picot wrote: > Great! - I'm not sure where you go with it after that, though. > > You could offer something non-existent for sale on OpenBazaar easily > enough. That would be one option. What appealed to me, though, was > the idea of selling shares in a non-existent work of art, in the hope > that the shares would keep changing hands and their value would keep > increasing, so that if you retained something like a 25% stake in the > work, that stake would keep increasing in value too.> > The paradox, of course, would be that by announcing that you were > creating a non-existent work of art, and offering shares in it, you > would in effect be creating an actual conceptual work of art about > the marketing and the market value of art. That's why I thought the > images from Curt Cloninger's essay about nothing would be appropriate > (for advertising the existence, or rather non-existence, of the work > and the availability of shares), because he's investigating the > paradox that you can't create a representation of nothing without > that representation being a something.> > I expect Rob could advise about how to set up the shares thing. > > Edward > > On 15/10/17 16:22, ruth catlow wrote: >> Not sure this is the best tool >> https://etherpad.net/p/MarlyStudiedTheQuotations >> >> but a place to start >> >> On 15/10/17 16:15, ruth catlow wrote: >>> I'd be up for thinking this one through. >>> Let's do it. >>> >>> On 13/10/17 20:34, Edward Picot wrote: >>>> Oops! Apologies for posting this twice. I thought the first one >>>> hadn't worked.>>>> >>>> On 13/10/17 19:10, Edward Picot wrote: >>>>> Can't we do something with this? Couldn't we create a conceptual >>>>> work of art that didn't actually exist at all - we could use some >>>>> ideas from Curt Cloninger's 'Essay About Nothing' to represent it >>>>> - and market shares in it via the Blockchain? Proceeds to >>>>> Furtherfield, unless the value went above a trillion dollars, in >>>>> which case I want a cut.>>>>> >>>>> Edward >>>>> >>>>> On 11/10/17 18:56, Rob Myers wrote: >>>>>> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: >>>>>>> Perfectly put Helen! >>>>>>> Art reframed as a new asset class for fractional ownership ain't >>>>>>> my idea of utopia.>>>>>> >>>>>> """Marly studied the quotations. Pollock was down again. This, >>>>>> she supposed, was the aspect of art that she had the most >>>>>> difficulty understanding. Picard, if that was the man's name, was >>>>>> speaking with a broker in New York, arranging the purchase of a >>>>>> certain number of "points" of the work of a particular artist. A >>>>>> "point" might be defined in any number of ways, depending on the >>>>>> medium involved, but it was almost certain that Picard would >>>>>> never see the works he was purchasing. If the artist enjoyed >>>>>> sufficient status, the originals were very likely crated away in >>>>>> some vault, where no one saw them at all. Days or years later, >>>>>> Picard might pick up that same phone and order the broker to >>>>>> sell. """>>>>>> >>>>>> - William Gibson, "Count Zero", 1986. >>>>>> >>>>>> >>>>>> >>>>>> ___ 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 >>
[NetBehaviour] Bosun Whistle Crow
Bosun Whistle Crow http://www.alansondheim.org/seal22.jpg https://youtu.be/LHwPmkh-Fic playing with crow into the wind, seals and cormorants in the distance, out of sight, a lone clamor in the background, invisible, the crow transforming everything, the beautiful dry sound of the whistle http://www.alansondheim.org/seal23.jpg My grotesque body. Today, a crow, we heard the sounds of its wings, loud and near us. But that wasn't the crow in the trees, in the distance. Misplaced Description of Everything in my Life and Work * "There are several categories. There are a number of still images "charprint" - these represent charred bodies, the results of genocide; they're small 3d-printed models. They've been shown in London, Spain, and Providence (the first two through Furtherfield, the last at Interrupt through John Cayley). They're the result of distorted motion-capture work - you can see some of this at 2p, body loses body, mocaps.mov; these were produced by either altering mocap software or remapping body nodes in various ways. I had extensive residencies at West Virginia University's Virtual Environments Lab, where these and other works have been produced. The same figures have also been used in Second Life, MacGrid, and other virtual worlds; the results are things like numbhir, hypnagogic, thedead, etc. I deconstruct SL avatars in the ruin. A lot of the work deals with anomalies in virtual worlds - regions or activities which operate half-in and half-out of the worlds - examples include suicide (look at suicide.mov and ignore suicide.mp4, it's not as sharp), switching, and the two reality pieces. Pain and some of the other pieces use text. Gunscan deconstructs a gun by altering laser 3d-scanning program parameters. Floodwall is a sped-up version of a codework I did on a bridge at Johnstown, Pennsylvania; in 1889 Johnstown experienced one of the worst disasters in the U.S. - 2209 people were killed when a dam burst, and the debris wiped out several towns. Everything ended up at the bridge. I programmed the bridge to say HELP in various ways - QRRR, MAYDAY, and SOS. The piece was run for several days and can be activated again. www presents an anomaly in Second Life which ends up representing a Wide World War, constant bombing. the dead was used as part of a suite of pieces dealing with genocide, performance, ISIS, and terror that was, for me, the basis of a stint at the empyre email list, where Johannes Birringer and I moderated a discussion on these issues for a month. aaggd is more complex than it appears; the images - which seem to be ordinary video feedback - are actually send around the world, and it's the circuit that creates them and the slight lag between them. This was done using the conferencing application in linux, Access Grid, and specifying the nodes the image/sound would have to go through - we used Morgantown in West Virginia, and a site in Queensland, Australia. This is also the case for hypnagogic. Fb images are from Facebook; I used a photograph of a severely wounded WWI German soldier as my personal image, trying both to cut through the surface of Fb and represent the horrors of war. The photograph is from Krieg dem Krieg. Finally stripped is the result of stripping altered motion capture movements from an avatar body, and re-presenting the movements on an abstract group of forms; I worked with this to examine how movement itself might represent consciousness without any other visual indication of organism. *sent with examples and additional text to a gallery. I pray, please please show me, I will play my bosun whistle for you and surely some crow will sing. And together we will fight the current regime and raise a flag. And the flag will have a bosun whistle and crow on it. And we will win. The crow will win. _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
it means that immaterial / non-existent artworks by women artists are doubly invisible, since so much [visible/material] art by women is anyway invisible in the patriarchal art world ... h : ) (emerging from an intense 4 days at the faces 20th anniversary in graz, where invisibility/under-representation of women's art & women artists was much discussed!) On 16.10.2017 15:11, Alan Sondheim wrote: > > Body Art was both male and female, Gina Pane, Collette, Marina > Abramovich, etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. > Orridge, but also Hannah Wilke, etc. A pretty mixed group. Most of the > hard-core conceptualists were male, but there are also Adrian Piper, > the Guerilla Girls, Alice Aycock and Nancy Wilson Kitchel, Martha > Wilson, etc., who spanned conceptualism and physical/person production > as well. > > - Alan > > On Mon, 16 Oct 2017, Gretta Louw wrote: > >> It?s interesting to me that artists working with immaterial / >> non-existent >> artworks in the past are so overwhelmingly male, but I don?t know yet >> what it >> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw >> >> ork.html Something perhaps about the other side of the body art coin >> perhaps? >> >> >> >> >> >> On 15. Oct 2017, at 17:15, ruth catlow >> wrote: >> >> I'd be up for thinking this one through. >> Let's do it. >> >> On 13/10/17 20:34, Edward Picot wrote: >> Oops! Apologies for posting this twice. I thought the >> first one hadn't worked. >> >> On 13/10/17 19:10, Edward Picot wrote: >> Can't we do something with this? Couldn't we create >> a conceptual work of art that didn't actually exist >> at all - we could use some ideas from Curt >> Cloninger's 'Essay About Nothing' to represent it - >> and market shares in it via the Blockchain? Proceeds >> to Furtherfield, unless the value went above a >> trillion dollars, in which case I want a cut. >> >> Edward >> >> On 11/10/17 18:56, Rob Myers wrote: >> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow >> wrote: >> Perfectly put Helen! >> Art reframed as a new asset class for >> fractional ownership ain't my idea of utopia. >> >> >> """Marly studied the quotations. Pollock was down >> again. This, she supposed, was the aspect of art >> that she had the most difficulty understanding. >> Picard, if that was the man's name, was speaking >> with a broker in New York, arranging the purchase of >> a certain number of "points" of the work of a >> particular artist. A "point" might be defined in any >> number of ways, depending on the medium involved, >> but it was almost certain that Picard would never >> see the works he was purchasing. If the artist >> enjoyed sufficient status, the originals were very >> likely crated away in some vault, where no one saw >> them at all. Days or years later, Picard might pick >> up that same phone and order the broker to sell. """ >> >> - William Gibson, "Count Zero", 1986. >> >> >> >> ___ >> 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 >> >> >> -- >> Co-founder Co-director >> Furtherfield >> >> www.furtherfield.org >> >> +44 (0) 77370 02879 >> >> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >> >> Furtherfield is the UK's leading organisation for art shows, labs, & >> debates >> around critical questions in art and technology, since 1997 >> >> Furtherfield is a Not-for-Profit Company limited by Guarantee >> registered in England and Wales under the Company No.7005205. >> Registered business address: Ballard Newman, Apex House, Grand Arcade, >> Tally Ho Corner, London N12 0EH. >> ___ >> Net
[NetBehaviour] Digimag Journal 77 - Call for Papers - The Arts Ecosystem
rs on specific subjects around media art and media studies. Four more issues were published until now, focused on: Digimag 73 – Places & Spaces, Digimag 74 – Uncertainty Reloaded, Digimag 75 – Digital Identities, Self Narratives, Digimag 76 – Smart Machines for Enhanced Arts --- Digicult Editions is the publishing initiative of the Digicult project, whose goal is to be active in the publication of the Digimag Journal, but also critical and theoretical books and essays commissioned to international authors, university thesis of special interest, publications edited in collaboration with other national and international publishers, conference proceedings and classes materials connected to educational activities, as well as peer-reviewed publications with institutional partners. Digicult Editions uses all the tools of a contemporary digital publishing: Pdf, Epub, Mobi formats and print on demand, always giving the chance to join all the previews through the Digicult Library on Issuu https://issuu.com/home/publisher). All contents by Digicult Editions are circulating under CC Licences: Attribution-NonCommercial-ShareAlike 3.0. <http://www.digicult.it/digimag> <http://www.marcomancuso.net/> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] fascist future dance
fascist future dance http://www.alansondheim.org/fasc02.png http://www.alansondheim.org/ff2.mp4 http://www.alansondheim.org/fasc03.png http://www.alansondheim.org/fasc04.png http://www.alansondheim.org/fasc05.png donald trump is a war criminal. treat him accordingly. this is a placeholder until he disappears. stiffdrink xyzzy changeme dialin braindead changethis realthing stainless stiffdrink! suck cyberpunk spock sodoff dedhed! csee greeting hydroxyl paintingdegreezerodrawingstuffdigestionan ;aaeeerrroovhhiunnclpyjyffddmmwoslvs from youir legs wouldfirli thatthe words ..the whole ewoulffd effect it thatthe words ..the whole ewoulffd be wonderful... wouldfirlikst..e thatthe ..the ewoulffd wonderful... becomes eye longer wonderful...becomes eye thatthe ..the ewoulffd wonderful... thatthe words ..the whole ewoulffd be wonderful... vengas dsffdshandy . lonely creams thinking makes octop odbci odyes odyss odyss offdr offic ofhou ohioa ohsig oil wonderful...becomes eye ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] immaterial art- wetin you go do?
Dear all
I tend to agree with Alan, and wondered Gretta what kind of works you had in
mind when you mentioned "immaterial / non-existent artworks" (the non existing
ones
i find particularly interesting, did you mean works of a scale that makes them
uncollectible or not so visible, like the kind of Smithson land art
extravaganzas?
I just attended the Carolee Schneemann retrospective ("Kinetic Painting") at
MMK Frankfurt, a massive exhibition across 11 galleries in the museum showing
early work from the 50s, through late work, paintings, assemblages,
performances, films, photographic and graphic works, writings and
installations. This is such a comprehensive exhibition, including documentary
photographs and films of her performance actions, that one could spend days in
it and revel in the achievements of a [female] artist who has affected history
through her own work and through her influence over subsequent generations of
artists, perhaps especially in the field of performance art. Though Schneemann
obviously worked through the erotics and charisma of her body (Stelarc
objectiifies "the body" differently, I think or treats 'it' differently), I
wonder whether gender notions are easy to apply (especially as dichotomies)?
When you think of land art or Smithson, you might also think of Ana Mendieta or
someone like Yayoi Kusama or Min Tanaka or Otobong Nkanga who have worked in
their own ways, with "landscapes" (so did Gertrude Stein, or Anita Berber). I
enclose a photo
of Nkanga's "Wetin You Go Do?" - currently at Tate Modern's Tanks. quite a
heavy work!
best
Johannes Birringer
dap-lab
____
From: netbehaviour-boun...@netbehaviour.org
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim
[sondh...@panix.com]
Sent: 16 October 2017 14:11
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Maecenas
Body Art was both male and female, Gina Pane, Collette, Marina Abramovich,
etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also
Hannah Wilke, etc. A pretty mixed group. Most of the hard-core
conceptualists were male, but there are also Adrian Piper, the Guerilla
Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who
spanned conceptualism and physical/person production as well.
- Alan
On Mon, 16 Oct 2017, Gretta Louw wrote:
> It?s interesting to me that artists working with immaterial / non-existent
> artworks in the past are so overwhelmingly male, but I don?t know yet what it
> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw
> ork.html Something perhaps about the other side of the body art coin
> perhaps?
>
>
>
>
>
> On 15. Oct 2017, at 17:15, ruth catlow
>wrote:
>
> I'd be up for thinking this one through.
> Let's do it.
>
> On 13/10/17 20:34, Edward Picot wrote:
> Oops! Apologies for posting this twice. I thought the
> first one hadn't worked.
>
> On 13/10/17 19:10, Edward Picot wrote:
> Can't we do something with this? Couldn't we create
> a conceptual work of art that didn't actually exist
> at all - we could use some ideas from Curt
> Cloninger's 'Essay About Nothing' to represent it -
> and market shares in it via the Blockchain? Proceeds
> to Furtherfield, unless the value went above a
> trillion dollars, in which case I want a cut.
>
> Edward
>
> On 11/10/17 18:56, Rob Myers wrote:
> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow
> wrote:
> Perfectly put Helen!
> Art reframed as a new asset class for
> fractional ownership ain't my idea of utopia.
>
>
> """Marly studied the quotations. Pollock was down
> again. This, she supposed, was the aspect of art
> that she had the most difficulty understanding.
> Picard, if that was the man's name, was speaking
> with a broker in New York, arranging the purchase of
> a certain number of "points" of the work of a
> particular artist. A "point" might be defined in any
> number of ways, depending on the medium involved,
> but it was almost certain that Picard would never
> see the works he was purchasing. If the artist
> enjoyed sufficient status, the originals were very
> likely crated away in some vault, where no one saw
> them at all. Days or years later, Picard might pick
> up that same phone and order the broker to sell. """
>
> - William Gibson, "Count Zero", 1986.
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/m
Re: [NetBehaviour] Maecenas
Body Art was both male and female, Gina Pane, Collette, Marina Abramovich, etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also Hannah Wilke, etc. A pretty mixed group. Most of the hard-core conceptualists were male, but there are also Adrian Piper, the Guerilla Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who spanned conceptualism and physical/person production as well. - Alan On Mon, 16 Oct 2017, Gretta Louw wrote: It?s interesting to me that artists working with immaterial / non-existent artworks in the past are so overwhelmingly male, but I don?t know yet what it means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw ork.html Something perhaps about the other side of the body art coin perhaps? On 15. Oct 2017, at 17:15, ruth catlow wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] ArtFutura London 2017
AUDIOVISUAL PROGRAM The ArtFutura audiovisual program for 2017 analyses the current creative trends presenting the latest in 3D, motion graphics, experimental video and everything related to the new aesthetics. Presenting: Premiere ArtFutura 2017 / Digital Creatures / 3D Futura Show / Futura Graphics / Artworks / Schools Futura. ALL THE EVENTS WILL TAKE PLACE AT HACKNEY PICTUREHOUSE - THE ATTIC TICKETS £8 / DAY FRIDAY 20/10/2017 7 pm • PREMIERE ARTFUTURA 2017 (1h) The ArtFutura 2017 Premiere is usually presented on the opening night of the festival and includes selections of the best and most impressive of the program this year: Digital Creatures, 3D Futura Show, Futura Graphics, Artworks and Schools Futura. A perfect introduction to the new visual, aesthetic and graphic trends of ArtFutura 2017. + DIGITAL CREATURES (15min) with works by Can Buyukberber, Paul Friedlander, Chico MacMurtrie / Amorphic Robot Works, Sachiko Kodama Esteban Diácono y Universal Everything) Tickets here https://www.picturehouses.com/cinema/Hackney_Picturehouse/film/art-futura-2017-artworks SATURDAY 21/10/2017 7 pm • 3D FUTURA SHOW (1h) - Every year, the 3DFutura Show presents the most outstanding computer graphics newly produced. Including new animations by Julius Horsthuis, Brazen Animation, Zombie Studio, Veselin Efremov, Bjorn-Erik Aschim , Max Taylor y Kevin Roger. + FUTURA GRAPHICS (1h) - Digital animations and beyond: Shorts, virals, clips and others in the search for new aesthetics and languages. With works by Maël Gourmelen, Elberfeld Kreation, Martin Lapp, David Lewandowski, Taxi Films, Daniel Savage y Hannes Knutsson. Tickets here https://www.picturehouses.com/cinema/Hackney_Picturehouse/film/art-futura-2017-3d-futura-show SUNDAY 22/10/2017 7 pm • ARTWORKS (40min) - A section dedicated to the best in new media installations and multimedia works documented in video format. With works by Team lab, WOW Inc., Maotic, NOHlab, Refik Anadol, Miguel Chevalier, Didzis Jaunzems Architecture y Daniel Canogar. + SCHOOLS FUTURA (1h) A new section dedicated to the best new jobs from schools around the world. From 3D to special effects and motion graphics. Names like ESMA, ART FX, ISART, New3DGE, MOPA or Rubika are present in this first instalment of the program that will be expanded in future editions. Tickets here https://www.picturehouses.com/cinema/Hackney_Picturehouse/film/art-futura-2017-futura-graphics ALL THE EVENTS WILL TAKE PLACE AT HACKNEY PICTUREHOUSE - THE ATTIC More on the website http://www.artfutura.org/v3/ WHEN: Friday 20, Saturday 21, and Sunday 22 October 2017 WHERE: Hackney PictureHouse – The Attic 270 Mare Street, E8 1HE Hackney, Hackney, United Kingdom PRESS CONTACT Laura Plana E: laurapl...@artfutura.org M: 07 505 922 748 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
It’s interesting to me that artists working with immaterial / non-existent artworks in the past are so overwhelmingly male, but I don’t know yet what it means… http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artwork.html <http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artwork.html> Something perhaps about the other side of the body art coin perhaps? > On 15. Oct 2017, at 17:15, ruth catlow wrote: > > I'd be up for thinking this one through. > Let's do it. > > On 13/10/17 20:34, Edward Picot wrote: >> Oops! Apologies for posting this twice. I thought the first one hadn't >> worked. >> >> On 13/10/17 19:10, Edward Picot wrote: >>> Can't we do something with this? Couldn't we create a conceptual work of >>> art that didn't actually exist at all - we could use some ideas from Curt >>> Cloninger's 'Essay About Nothing' to represent it - and market shares in it >>> via the Blockchain? Proceeds to Furtherfield, unless the value went above a >>> trillion dollars, in which case I want a cut. >>> >>> Edward >>> >>> On 11/10/17 18:56, Rob Myers wrote: >>>> On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: >>>>> Perfectly put Helen! >>>>> Art reframed as a new asset class for fractional ownership ain't my idea >>>>> of utopia. >>>> >>>> """Marly studied the quotations. Pollock was down again. This, she >>>> supposed, was the aspect of art that she had the most difficulty >>>> understanding. Picard, if that was the man's name, was speaking with a >>>> broker in New York, arranging the purchase of a certain number of "points" >>>> of the work of a particular artist. A "point" might be defined in any >>>> number of ways, depending on the medium involved, but it was almost >>>> certain that Picard would never see the works he was purchasing. If the >>>> artist enjoyed sufficient status, the originals were very likely crated >>>> away in some vault, where no one saw them at all. Days or years later, >>>> Picard might pick up that same phone and order the broker to sell. """ >>>> >>>> - William Gibson, "Count Zero", 1986. >>>> >>>> >>>> >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> >>> >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> >> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> > -- > Co-founder Co-director > Furtherfield > > www.furtherfield.org <http://www.furtherfield.org/> > > +44 (0) 77370 02879 > > Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i > > Furtherfield is the UK's leading organisation for art shows, labs, & debates > around critical questions in art and technology, since 1997 > > Furtherfield is a Not-for-Profit Company limited by Guarantee > registered in England and Wales under the Company No.7005205. > Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally > Ho Corner, London N12 0EH. > ___ > 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] Maecenas
Great! - I'm not sure where you go with it after that, though. You could offer something non-existent for sale on OpenBazaar easily enough. That would be one option. What appealed to me, though, was the idea of selling shares in a non-existent work of art, in the hope that the shares would keep changing hands and their value would keep increasing, so that if you retained something like a 25% stake in the work, that stake would keep increasing in value too. The paradox, of course, would be that by announcing that you were creating a non-existent work of art, and offering shares in it, you would in effect be creating an actual conceptual work of art about the marketing and the market value of art. That's why I thought the images from Curt Cloninger's essay about nothing would be appropriate (for advertising the existence, or rather non-existence, of the work and the availability of shares), because he's investigating the paradox that you can't create a representation of nothing without that representation being a something. I expect Rob could advise about how to set up the shares thing. Edward On 15/10/17 16:22, ruth catlow wrote: Not sure this is the best tool https://etherpad.net/p/MarlyStudiedTheQuotations but a place to start On 15/10/17 16:15, ruth catlow wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ 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] fascist futurism
fascist futurism Donald Trump is a war criminal. Treat him accordingly. Donald Trump meets his followers in a field. It is 2024. They are all wounded. Some don't have legs. Some don't have arms. They hug and kiss him. They all dance. Trump is so happy. Trump is so very happy. There is no one else around. Everything is burned. Trump is not burned. Trump is so very happy. If I was there I would be happy for Trump. I would be happy too. http://www.alansondheim.org/fasc05.png http://www.alansondheim.org/fascistfuture.mp4 fascistsanti-un-frm..-frm inanti-un-frm..-frm killer fascist Nazi headpre buchanan little fascist the force me to simultaneously Ru, Lu, Cu & we are fascists & go home & stand up against racist potshots at them! So now we'll have fascist Shiron to contend with; if Reality is fascist! We must sit in our New Frocks and DISARM!! fascistic! Because you _have_ to just look at what's there! It is there! :: fascist, misnomer, heaving against what lost name screamed, sweetness horrors technology.] any fascist thank condaleeza. however spel comprehensino. Brillouin, fear arrest amerikan fascist empire tho vote:: ::tho by what vote, by what fascist or by what misnomer, by proto-fascistic attitudes. gun-control debate. incoherencies. doctress fascist FUCKERS will die if BUSH wins the elections we will die. if KERRY expect you to do your best to kill fascists in your community. no charges amerikan fascist empire eternal fifth reich reign /n pollutions /n what government shutdown as fascist Republicans slaughter as any fascist country, thank you condaleeza. however you spel horrors technology.] any fascist thank condaleeza. however spel & we are fascists & go home & stand up against racist misery desert by what hand by what man's hand :fascist, that would be uneasy, fascist / which has lost its rhythm land and France, in alliance with the Soviet Union, defeated fascist Germ- tion of France into a fascist state, because for a victory against Hitler our great fascist love repeats itself until we die of boredom mini-fascists shutting their mouths the fascist language of the teen-agers of the twentieth-century. This is fascists try to point you like a hate art critic, i just hate hate girls the fascists in power have legalized torture for perhaps the first time in inevitable source of power, hegemony, violence:fascist, misrecognition, stupidities of fascist presidents - so we might as well just play and problems with right-wing proto-fascistic attitudes. The gun-control purity are dirtied, soiled, by abject infiltration. Our dreams are fascist the rest of the country! Proto fascists, they promised compromise and as Fuck Florida! Fuck the fascists just itching to take over the US! They'll mini-fascists wait in the foreground to take over as fascist republicans them, hard as hell, even in the onslaught the war at this point, the fascist regime in this country, the when we have to fear the fascists in our own country it is necessary to have a monstrous military machine, and the fascist If the world turns fascist to a greater degree, if you hear the final play & tongue, upon (or fascists go home stand racist what vote, by what fascist or by what misnomer, by unless vote what dark ground::fascist, what mistaking http://www.alansondheim.org/fasc02.png _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Not sure this is the best tool https://etherpad.net/p/MarlyStudiedTheQuotations but a place to start On 15/10/17 16:15, ruth catlow wrote: I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
I'd be up for thinking this one through. Let's do it. On 13/10/17 20:34, Edward Picot wrote: Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The Binary Graffiti Club. Call to be involved.
Ha ha! oops! Accidental post. But I think this may be of interest- chekkit! On 13/10/17 18:28, Stanza wrote: *The Binary Graffiti Club. Call to be involved.* We are looking for people to help us on Saturday 21st October from 12 - 5pm *Would you like to be part of something fun, arty, musical in London which will be made into to a short film?* The Binary Graffiti Club are looking for volunteers to take part in experimental vocal event led by artist Stanza and musician Richard Frostick. The date we need you is Saturday 21st October from 12 - 5pm. This will be a fun day in an interesting venue in the middle of London. We will all make music by trying to sing a musical score composed of a series of binary codes extracted from a newly published book made from public contributions. All you have to do is turn up wear a hoodie and sing, and take some instruction. The aim is to have fun creating music and make a piece of art (a film) which will be exhibited in November. If you can sing great (you're in) if you cannot sing no worries (you're in as well.) Requirements. No vocal experience needed but we need you to be up for it and prepared to experiment with your voice. Participants will be filmed. Participant will be asked to wear a binary hoodie which will be provided. No payment is available therefore volunteers only. Please come in black legging / black trousers and black shoes if you can.*Dates and Times. Oct 21st Saturday 12am - 5 PM Venue: Hinde Street, Methodist Church. (ie large church on corner) The nearest London Underground station is Bond Street. Contact. Please confirm via by email. i...@thebinarygraffiticlub.com * *www.thebinarygraffiticlub.com/ * -- Stanza www.stanza.co.uk tel +447701309802 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] The Binary Graffiti Club. Call to be involved.
Hi Stanza, Sounds like fun. We have our own thing on that day (meditating with mushrooms in Finsbury Park;) But tweet it @furtherfield and we will spread the word. Also do join the Netbehaviour email list http://www.netbehaviour.org/mailman/listinfo/netbehaviour You may catch some interest there. You post and I will endorse! :) R On 13/10/17 18:28, Stanza wrote: *Hi Ruth * **Can you send this out on your network. Indeed would you be up for it or Mark?* * *Kind Regards* * Stanza * * * *The Binary Graffiti Club. Call to be involved.* We are looking for people to help us on Saturday 21st October from 12 - 5pm *Would you like to be part of something fun, arty, musical in London which will be made into to a short film?* The Binary Graffiti Club are looking for volunteers to take part in experimental vocal event led by artist Stanza and musician Richard Frostick. The date we need you is Saturday 21st October from 12 - 5pm. This will be a fun day in an interesting venue in the middle of London. We will all make music by trying to sing a musical score composed of a series of binary codes extracted from a newly published book made from public contributions. All you have to do is turn up wear a hoodie and sing, and take some instruction. The aim is to have fun creating music and make a piece of art (a film) which will be exhibited in November. If you can sing great (you're in) if you cannot sing no worries (you're in as well.) Requirements. No vocal experience needed but we need you to be up for it and prepared to experiment with your voice. Participants will be filmed. Participant will be asked to wear a binary hoodie which will be provided. No payment is available therefore volunteers only. Please come in black legging / black trousers and black shoes if you can.*Dates and Times. Oct 21st Saturday 12am - 5 PM Venue: Hinde Street, Methodist Church. (ie large church on corner) The nearest London Underground station is Bond Street. Contact. Please confirm via by email. i...@thebinarygraffiticlub.com * *www.thebinarygraffiticlub.com/ * -- Stanza www.stanza.co.uk tel +447701309802 -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] From 1997, Nova Scotia, mainly Sydney, working with Mike Gurstein
Working with Mike Gurstein http://www.alansondheim.org/mike.txt From 1997, Nova Scotia, mainly Sydney, working with Mike Gurstein Revisiting, Notes and Pieces Telecommunications in Rural or Non-Metropolitan Areas: What sorts of uses can CMC be put to in rural areas? In terms of [...] (Mike Gurstein, one of the founders of community informatics, died today) ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] RIP Michael Gurstein (fwd)
tising access to the tools of information technology and the advancement of civil society. Mike passed away peacefully at home on October 8 after a two year battle with prostate cancer. He is survived by his wife Fernande, his mother Sylvia, his sister Penny, his children Rachel and Marc, his step-children Bruno and Nina, his grandchildren Emmanuelle and Daniel, step grandchildren Patrick, Emilly, Jessica and Erica, and niece, Natasha. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mx.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nett...@kein.org # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] RIP Michael Gurstein & much respect for being a decent himan being...
Really sad news, such a lovely guy. Through the years, Michael contributed some excellent ideas and texts on the Netbehaviour email list, in the UK. He has been involved on some of the most important discussions on Netbehaviour and contributing with in depth, some critical insights, whether it was in relation to Furtherfield projects and or its various ventures, such DIWO, and he always was generous in offering thoughtful perspectives in an open way. Such a shock :-( This was found on his FB page Michael Gurstein October 2, 1944 - October 8, 2017 Michael Gurstein was born on October 2, 1944 in Edmonton, Alberta, Canada to Emanuel (Manny) and Sylvia Gurstein. While still an infant, the family moved to Melfort, Saskatchewan where Manny grew up and his family still lived. In Mike’s youth, Manny and Sylvia ran a successful retail store. There, the family grew with a younger sister, Penny. Mike excelled at school. He spent his summers working at a golf club in Waskesiu and graduated from Melfort Composite Collegiate Institute high school, and then completed an undergraduate degree in philosophy at the University of Saskatchewan in Saskatoon. Mike was driven by pragmatism and curiosity about the wider world that motivated his doctoral studies in Sociology at the University of Cambridge in the U.K. While a student, he began his life-long exploration of the world, with trips through North Africa and a long journey from Southeast Asia through Afghanistan and Iran and back to the U.K. Upon Mike’s return to Canada, he worked in politics and policy, as a senior civil servant for the Province of British Columbia under Barrett’s NDP government (1972-4) and for the Province of Saskatchewan under Blakeney’s NDP Government (1974-5). While teaching at York University, he ran unsuccessfully for the NDP in the riding of Parkdale. Mike moved to Ottawa in the late 1970s where he met his wife, Fernande Faulkner. Together they had two children, Rachel (1981) and Marc (1983). He and Fernande established and ran a management consulting firm, Socioscope, which studied and guided the social aspects of the introduction of information communication technology. In Ottawa, Mike also built and managed a real estate portfolio. In 1992 the family moved to New York, where Mike and Fernande worked for the United Nations. In 1995, Mike became Associate Chair in the Management of Technological Change at the University College of Cape Breton. There, he founded the Centre for Community and Enterprise Networking (C/CEN) as a community based research laboratory exploring applications of ICT to support social change in one of Canada's most economically disadvantaged regions. Grown out of his early experience in rural small town Saskatchewan and his later experiences in impoverished but culturally and communally rich Cape Breton, Mike's work provided the conceptual framing for “community informatics”. He published the first major work in the field, and introduced the term "community informatics" into wider usage as referring to the research and praxis discipline underpinning the social appropriation of ICT. Within the area of community informatics a major contribution has been Mike's introduction of the notion of "effective use" as a critical analytical framework for assessing technology implementation superseding approaches based on the more commonly accepted frameworks such as that of the "digital divide". In 1999, the family moved to Vancouver to be closer to Mike’s parents and sister. In 2000, Mike and Fernande returned to New York, to work at the New Jersey Institute of Technology and the UN, respectively. Mike returned to Vancouver in 2006 and established the Center for Community Informatics Research Development and Training (CCIRDT). With this platform, he traveled the world to consult with governments and civil society organisations, present at conferences, and conduct research. Mike was the founding editor of the Journal of Community Informatics and was Foundation Chair of the Community Informatics Research Network. He was at the time of his death the Executive Director of CCIRDT, and formerly an Adjunct Professor in the School of Library and Information Studies Vancouver Canada, and as well as Research Professor at the New Jersey Institute of Technology in Newark, New Jersey, and Research Professor at the University of Quebec (Outaouais). He was also a member of the High Level Panel of Advisers of the UN's Global Alliance for ICT and Development. He has also served on the Board of the Global Telecentre Alliance, Telecommunities Canada, the Pacific Community Networking Association and the Vancouver Community Net. In recent years he was active as a commentator, speaker and essayist/blogger articulating a community informatics (grassroots ICT user) perspective in the areas of open government data and internet governance. T
[NetBehaviour] the Uncontrollable issue @ aglimpseof.net
This is fantastic and fantastic company! - Alan -- Forwarded message -- Date: Sat, 14 Oct 2017 09:47:50 From: Dimitra Ioannou To: Dimitra Ioannou Subject: the Uncontrollable issue @ aglimpseof.net Dear friends of aglimpseof, I am very pleased to announce that the Uncontrollable issue is out!? It features fascinating works by Emanuela Bianchi, Maria Damon, Alan Sondheim, Mez Breeze, Clive Gresswell, Jane Joritz-Nakagawa, Aadityakrishna Sathish, Olivia Cronk & Philip Sorenson, Matt Schumacher, Christine Stoddard, and Florence Sunnen.? Our next issue theme is Symptoms; submissions are open until November 30th.? Back to all things Uncontrollable now:?https://aglimpseof.net/category/the-uncontrollable-issue/ Best wishes, Dimitra Ioannou ?? ? If you?don't?want?to be on our mailing?list,?please unsubscribe. T.Y. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] oiu and the secret code of life
oiu http://www.alansondheim.org/blue19.jpg http://www.alansondheim.org/blue23.jpg j(dlOWl FJB(relsJi3Nbl// --_ j(dlOWl FJB(relsJi3Nbl// --_ j(dlOWl FJB(relsJi3Nbl// --_ j(dlOWl FJB(relsJi3Nbl// --_ what: No hey's found. / KILTER k13% what hey sondheim [ ...HEY!!! This message comes from sondheim (Alan Sondheim)... What's with all this talk? ] k14% what oh sondheim youre losing it [ ...HEY!!! This message comes from sondheim (Alan Sondheim)... What's with all this talk? ] k15% what nothing what: No hey's found. k16% what aw what: No hey's found. k17% what sondheim hey [ ...HEY!!! This message comes from sondheim (Alan Sondheim)... What's with all this talk? ] k24% yo sondheim argh yo: there is no such user with an account on this system. k25% yo argh sondheim yo: there is no such user with an account on this system. k26% yo yo ma yo: there is no such user with an account on this system. k27% yo sondheim To: sondheim (Alan Sondheim) hey there yo yo mah what? 'hey' canceled!!! hey there yo yo mah what? quit wow! hey! k31% yo sondheim To: sondheim (Alan Sondheim) argh, what on earth? i should have shown with you! you should have been innerested i'm a contender! don't worry about the apostrophes i have all th' tim' in' th' worl' cant' get no'b etter than 'his eh? yo jes a lon' bo' bon mot w/ th' jogia saran'i eh? not now 'nah nex' worl' wa' th' las' don' sa' ' didn' war' yo' yo' bon mot eh? 'hey' canceled!!! 'hey' canceled!!! argh, what on earth? i should have shown with you! you should have been innerested i'm a contender! don't worry about the apostrophes i have all th' tim' in' th' worl' cant' get no'b etter than 'his eh? yo jes a lon' bo' bon mot w/ th' jogia saran'i eh? not now 'nah nex' worl' wa' th' las' don' sa' ' didn' war' yo' yo' bon mot eh? HEY!!! whatev' trumpskiller skiller kelter manz' got' g' whatev' to man'death's done him t' othr's keyk 'ode *jfleIzJb' yo' got tha' ov'r ou' HEY!!! whatev' trumpskiller skiller kelter manz' got' g' whatev' to man'death's done him t' othr's keyk 'ode *jfleIzJb' yo' got tha' ov'r ou' don' don' don' don' 5 yo sondheim 6 cat .hey >> zz 6 cat .hey >> zz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Oops! Apologies for posting this twice. I thought the first one hadn't worked. On 13/10/17 19:10, Edward Picot wrote: Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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] Maecenas
Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - perhaps we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market fractions of it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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] Maecenas
Can't we do something with this? Couldn't we create a conceptual work of art that didn't actually exist at all - we could use some ideas from Curt Cloninger's 'Essay About Nothing' to represent it - and market shares in it via the Blockchain? Proceeds to Furtherfield, unless the value went above a trillion dollars, in which case I want a cut. Edward On 11/10/17 18:56, Rob Myers wrote: On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ 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] Constitutional radicalism
This might seem a bit dated but perhaps not. In response to Brian Holmes' notion that the moderates are now the new radicals, I was reflecting on the July 4th 2017 tweeting of the Declaration of Independence by US National Public Radio. The Trump-base replies of putting radical and subversive content online, and I would not have been surprised at a comment about Communism. That being said, the polarization of politics in the United States, at least since Reagan, and likely since the McCarthy Trials and Goldwater days in the 60's make we wonder about Brian's idea that in light of severe polarization, has the center become the radix? Has the United states become so warped through populist remediation that its fundamental principles are now seen by the populists as radical and subversive? If so, I'd like to consider the notionof Constitutional Radicalism in the USA. The idea of the Radical Moderate as healing agent. This is not saying to reiterate Eisenhower-era hegemony - far from it. The Constitution and Declaration have some ideas that are being trampled to death by the Trump movement, egalite', freedom of speech, liberte', and so on. This is also not a defense for a constitutional literalism that lets the alt-right off the hook for semiotic inversion (accusing the other of their own tactics as diversion), but a call for a spirit of the law separate from strict legalism, which was perfected in the Gordon Gecko days of the 1980's to the speculations crash of the 2008. Has the United states, and a large part of Western thought become so warped by populism and anti-intellectualism (which is a complex and stack in itself) that individuals seeking a humane, objective society driven by reason, logic and empirical science look like some sort of freak show? If so, count me as a freak, and perhaps a political theory of constitutional fundamentalism as revolutionary force is a notion which time has come. What art could come from such “radical”, “Subversive” ideas born in the Enlightenment and the Age of Reason when updated for the current age, and not on 4chan? ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Administration tokens sound like a good way of funding art then. ;-) - Rob. On Thu, 12 Oct 2017, at 07:10 AM, Anthony Stephenson wrote: > Everyone knows the real money is in administration ;-) > > On Thu, Oct 12, 2017 at 7:00 AM, requ...@netbehaviour.org> wrote:>> >> >>> >> >>> I have a question brewing - that I want to run by everyone - >> >>> about>> >>> the value of art and artists now and in the future. >> >>> > > -- > - *Anthony Stephenson* > *http://anthonystephenson.org/* > > > _____ > 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] A thing I find Disturbing
A thing I find Disturbing
http://www.alansondheim.org/awkword5.jpg
http://www.alansondheim.org/awkword6.jpg
a covered gravy holder of silver or other metal containing a
detachable central vessel for hot water to keep the gravy warm
[syn: {argyll}, {argyle}] a design consisting of a pattern of
varicolored diamonds on a solid background (originally for
knitted articles); patterned after the tartan of a clan in
western Scotland [syn: {argyle}, {argyll}] a sock knitted or
woven with an argyle design (usually used in the plural) [syn:
{argyle}, {argyll}] Argyle, GA (town, FIPS 2844) Location:
31.07373 N, 82.64942 W Population (1990): 206 (76 housing units)
Area: 4.5 sq km (land), 0.0 sq km (water) Argyle, IA Zip
code(s): 52619 Argyle, MN (city, FIPS 2134) Location: 48.33738
N, 96.81570 W Population (1990): 636 (298 housing units) Area:
4.0 sq km (land), 0.0 sq km (water) Zip code(s): 56713 Argyle,
MO (town, FIPS 1828) Location: 38.29501 N, 92.02546 W Population
(1990): 178 (80 housing units) Area: 1.0 sq km (land), 0.0 sq km
(water) Zip code(s): 65001 Argyle, NY (village, FIPS 2550)
Location: 43.23701 N, 73.49037 W Population (1990): 295 (117
housing units) Area: 0.9 sq km (land), 0.0 sq km (water) Zip
code(s): 12809 Argyle, TX (city, FIPS 3768) Location: 33.11049
N, 97.17988 W Population (1990): 1575 (594 housing units) Area:
25.9 sq km (land), 0.0 sq km (water) Zip code(s): 76226 Argyle,
WI (village, FIPS 2650) Location: 42.70063 N, 89.86625 W
Population (1990): 798 (364 housing units) Area: 1.5 sq km
(land), 0.0 sq km (water) Zip code(s): 53504
===
therapy in light of:
the u.s. withdrawing from unesco
trump attacking puerto rico in a series of vicious tweets
trump's dismantling of obamacare now underway
trump's likely pullout of the iran deal
terrible wildfires in california
and we can't do anything about anything anymore
===
___
NetBehaviour mailing list
NetBehaviour@netbehaviour.org
http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
Everyone knows the real money is in administration ;-) On Thu, Oct 12, 2017 at 7:00 AM, wrote: > > >>> > >>> I have a question brewing - that I want to run by everyone - about > >>> the value of art and artists now and in the future. > >>> > -- - *Anthony Stephenson* *http://anthonystephenson.org/* <http://anthonystephenson.org/> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Patrick Tresset exhibition PV and conversation with Dr Nick Lambert
I hope I can see this when I’m in London Irini, looks great! > On 11. Oct 2017, at 19:17, Irini Papadimitriou wrote: > > Dear All > > I am very pleased to announce our new exhibition, Whilst we were here... by > Patrick Tresset, which opens at Watermans on Wednesday 18 October. > > I hope you can join us for the launch event. > > In Conversation: Patrick Tresset and Dr Nick Lambert > Wednesday 18 October, 6.30-8.30pm > FREE > Please book your place on > https://www.watermans.org.uk/events/patrick-tresset-in-conversation-with-dr-nicholas-lambert/ > > <https://www.watermans.org.uk/events/patrick-tresset-in-conversation-with-dr-nicholas-lambert/> > > The conversation will take place in the theatre and will last approximately > 45 minutes, followed by drinks in the gallery. > In partnership with the Computer Arts Society > > Artist Patrick Tresset and Dr Nick Lambert (Head of Research at Greenwich > Peninsula's Ravensbourne and lecturer in Digital Art and Culture at Birkbeck > College) will discuss Tresset's work creating theatrical installations using > robots, including the new work presented in his new exhibition at Watermans. > > Best wishes > Irini > > -- > Irini Papadimitriou > Head of New Media Arts Development > Watermans > 40 High Street > Brentford > TW8 0DS > > Direct line: +44 (0)20 8232 1012 <> > Admin: +44 (0)20 8232 1020 <> > > www.watermans.org.uk <http://www.watermans.org.uk/> > ___ > 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] Maecenas
Hi Annie, yes, I am but the problem is that these factors lead to who can make what work, massively impacting the landscape of art that’s available to be seen, made, experienced etc. > On 11. Oct 2017, at 23:01, Annie Abrahams wrote: > > value of art now and in the future . ? > > @ Ruth, as soon as art becomes something else than a very personal quest, it > becomes something else, an economical, political, social, family asset and > then it's interest can only be discussed in that particular frame > > @Gretta in my opinion you talk about social and finally financial value > created by likes = manipulated humans and machines > > @ Helen maybe not archiving itself is important nowadays, but the production > of an image, its proliferation, multiplication and the possibilities this > creates > > my two cents > Annie > > On Wed, Oct 11, 2017 at 8:45 PM, ruth catlow <mailto:ruth.cat...@furtherfield.org>> wrote: > Ha hah! >> what do you mean by "value", ruth? value to whom? monetary value, cultural >> value, nostalgic value, personal value ... ?? >> > value to anyone with a stake in the question > > and all of the above kinds of value and more (please proliferate) > >> & then, what do you mean by "art" and "artists" ... > every possible definition of art as defined by art lovers, critics, > historians, machines > and artists as defined by themselves and others >> >> h ;) > But I'm not sure that is the question I was looking for! > > Ruth > > >> >> >> On 11.10.2017 10:51, Gretta Louw wrote: >>> I’ve been spending a lot of time puzzling over social media lately and >>> think (horrifyingly) that the value of the latter is increasingly measured >>> in instagram followers - we’re not yet at the point of openly sponsored >>> posts, but indirectly I think it’s already happening… >>> >>> >>> >>> >>>> On 11. Oct 2017, at 09:58, ruth catlow >>> <mailto:ruth.cat...@furtherfield.org>> wrote: >>>> >>>> Perfectly put Helen! >>>> Art reframed as a new asset class for fractional ownership ain't my idea >>>> of utopia. >>>> >>>> I have a question brewing - that I want to run by everyone - about the >>>> value of art and artists now and in the future. >>>> >>>> If anyone can tell me what that question is I'd be very interested to hear >>>> what it is;) >>>> >>>> Otherwise...soon... >>>> :! >>>> >>>> On 09/10/17 09:22, helen varley jamieson wrote: >>>>> agree. thank goodness my art is mostly ephemeral & can't be stuck with a >>>>> financial pin like a dead butterfly ... >>>>> >>>>> On 07.10.2017 02:29, Alan Sondheim wrote: >>>>>> >>>>>> I noticed this - >>>>>> >>>>>> "Maecenas touts itself as a blockchain platform that, according to its >>>>>> creators, will democratise access to fine art. For the first time, the >>>>>> Maecenas website enthuses, technology will allow investors, collectors >>>>>> and owners to exchange shares in paintings and sculptures instantly, >>>>>> akin to the way stocks of a company are traded today." >>>>>> >>>>>> This does NOT democratise access to art; it's nothing more than a secure >>>>>> way to protect and exchange's one investment - which plays into the >>>>>> notion of enclaving described in Mike Davis' City of Quartz (think it >>>>>> was written in the 80s). Art has to RESIST enclaving, unless one accepts >>>>>> useless decoration and connoisseurship as the only form of art worth >>>>>> considering. >>>>>> >>>>>> One of the amazing things about Furtherfield is, at least as far as I >>>>>> can tell, it itself is a form of resistance! I'd thank God for this, but >>>>>> given the state of things on the planet, I wouldn't want to burden Her >>>>>> with more communication. >>>>>> >>>>>> - Alan >>>>>> ___ >>>>>> NetBehaviour mailing list >>>>>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>>>>> http://ww
Re: [NetBehaviour] Maecenas
archiving has become an art, i think, blockchain is also an archive, artists can very well (continue) focusing on experimenting with archiving vs ephemerality, loss and chaos will continue. collecting art might also have become an art for that matter, building on loss and chaos.. i think art and artists definitely should resist definition, or make that definition part of the art, ie. have it for breakfast. don't rely on the future, let it function freely without abiding anywhere or in anything. dematerialization is in the eye of the beholder. -- bjørn http://noemata.net On Wed, Oct 11, 2017 at 11:01 PM, Annie Abrahams wrote: > value of art now and in the future . ? > > @ Ruth, as soon as art becomes something else than a very personal quest, > it becomes something else, an economical, political, social, family asset > and then it's interest can only be discussed in that particular frame > > @Gretta in my opinion you talk about social and finally financial value > created by likes = manipulated humans and machines > > @ Helen maybe not archiving itself is important nowadays, but the > production of an image, its proliferation, multiplication and the > possibilities this creates > > my two cents > Annie > > On Wed, Oct 11, 2017 at 8:45 PM, ruth catlow > wrote: > >> Ha hah! >> >> what do you mean by "value", ruth? value to whom? monetary value, >> cultural value, nostalgic value, personal value ... ?? >> >> value to anyone with a stake in the question >> >> and all of the above kinds of value and more (please proliferate) >> >> & then, what do you mean by "art" and "artists" ... >> >> every possible definition of art as defined by art lovers, critics, >> historians, machines >> and artists as defined by themselves and others >> >> h ;) >> >> But I'm not sure that is the question I was looking for! >> >> Ruth >> >> >> >> On 11.10.2017 10:51, Gretta Louw wrote: >> >> I’ve been spending a lot of time puzzling over social media lately and >> think (horrifyingly) that the value of the latter is increasingly measured >> in instagram followers - we’re not yet at the point of openly sponsored >> posts, but indirectly I think it’s already happening… >> >> >> >> >> On 11. Oct 2017, at 09:58, ruth catlow >> wrote: >> >> Perfectly put Helen! >> Art reframed as a new asset class for fractional ownership ain't my idea >> of utopia. >> >> I have a question brewing - that I want to run by everyone - about the >> value of art and artists now and in the future. >> >> If anyone can tell me what that question is I'd be very interested to >> hear what it is;) >> >> Otherwise...soon... >> :! >> >> On 09/10/17 09:22, helen varley jamieson wrote: >> >> agree. thank goodness my art is mostly ephemeral & can't be stuck with a >> financial pin like a dead butterfly ... >> >> On 07.10.2017 02:29, Alan Sondheim wrote: >> >> >> I noticed this - >> >> "Maecenas touts itself as a blockchain platform that, according to its >> creators, will democratise access to fine art. For the first time, the >> Maecenas website enthuses, technology will allow investors, collectors and >> owners to exchange shares in paintings and sculptures instantly, akin to >> the way stocks of a company are traded today." >> >> This does NOT democratise access to art; it's nothing more than a secure >> way to protect and exchange's one investment - which plays into the notion >> of enclaving described in Mike Davis' City of Quartz (think it was written >> in the 80s). Art has to RESIST enclaving, unless one accepts useless >> decoration and connoisseurship as the only form of art worth considering. >> >> One of the amazing things about Furtherfield is, at least as far as I can >> tell, it itself is a form of resistance! I'd thank God for this, but given >> the state of things on the planet, I wouldn't want to burden Her with more >> communication. >> >> - Alan >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> -- >> helen varley jamieson >> he...@creative-catalyst.com >> http://www.creative-catalyst.com >> http://www.upstage.org.nz >> >> >> ___ >> NetBehaviour mailing >> lis
[NetBehaviour] two women and the network of everything
two women and the network of everything http://www.alansondheim.org/aud91.jpg everything is forked, the two women, the tree, the pipes on the bag, snaked and i traveled and was in another state with two women, whose brothers had a way of being _awry_ or weird here. i'm sitting next to the two women talking about something between them and i'm here sitting next the women talking about looking further between them. 0: two No command 'two' found, did you mean: Command 'tao' from package 'taopm' (universe) two: command not found 0: women No command 'women' found, did you mean: Command 'wopen' from package 'gworkspace.app' (universe) women: command not found i used to think, when I was young, that if I were sent to a prisoner of war camp, cipher cipher, cipher, nothing, /dev/null dev/null, I used to think, when I was young - - - ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
value of art now and in the future . ? @ Ruth, as soon as art becomes something else than a very personal quest, it becomes something else, an economical, political, social, family asset and then it's interest can only be discussed in that particular frame @Gretta in my opinion you talk about social and finally financial value created by likes = manipulated humans and machines @ Helen maybe not archiving itself is important nowadays, but the production of an image, its proliferation, multiplication and the possibilities this creates my two cents Annie On Wed, Oct 11, 2017 at 8:45 PM, ruth catlow wrote: > Ha hah! > > what do you mean by "value", ruth? value to whom? monetary value, cultural > value, nostalgic value, personal value ... ?? > > value to anyone with a stake in the question > > and all of the above kinds of value and more (please proliferate) > > & then, what do you mean by "art" and "artists" ... > > every possible definition of art as defined by art lovers, critics, > historians, machines > and artists as defined by themselves and others > > h ;) > > But I'm not sure that is the question I was looking for! > > Ruth > > > > On 11.10.2017 10:51, Gretta Louw wrote: > > I’ve been spending a lot of time puzzling over social media lately and > think (horrifyingly) that the value of the latter is increasingly measured > in instagram followers - we’re not yet at the point of openly sponsored > posts, but indirectly I think it’s already happening… > > > > > On 11. Oct 2017, at 09:58, ruth catlow > wrote: > > Perfectly put Helen! > Art reframed as a new asset class for fractional ownership ain't my idea > of utopia. > > I have a question brewing - that I want to run by everyone - about the > value of art and artists now and in the future. > > If anyone can tell me what that question is I'd be very interested to hear > what it is;) > > Otherwise...soon... > :! > > On 09/10/17 09:22, helen varley jamieson wrote: > > agree. thank goodness my art is mostly ephemeral & can't be stuck with a > financial pin like a dead butterfly ... > > On 07.10.2017 02:29, Alan Sondheim wrote: > > > I noticed this - > > "Maecenas touts itself as a blockchain platform that, according to its > creators, will democratise access to fine art. For the first time, the > Maecenas website enthuses, technology will allow investors, collectors and > owners to exchange shares in paintings and sculptures instantly, akin to > the way stocks of a company are traded today." > > This does NOT democratise access to art; it's nothing more than a secure > way to protect and exchange's one investment - which plays into the notion > of enclaving described in Mike Davis' City of Quartz (think it was written > in the 80s). Art has to RESIST enclaving, unless one accepts useless > decoration and connoisseurship as the only form of art worth considering. > > One of the amazing things about Furtherfield is, at least as far as I can > tell, it itself is a form of resistance! I'd thank God for this, but given > the state of things on the planet, I wouldn't want to burden Her with more > communication. > > - Alan > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > helen varley jamieson > he...@creative-catalyst.com > http://www.creative-catalyst.com > http://www.upstage.org.nz > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > Co-founder Co-director > Furtherfield > > www.furtherfield.org > > +44 (0) 77370 02879 > > Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i > > Furtherfield is the UK's leading organisation for art shows, labs, & > debates > around critical questions in art and technology, since 1997 > > Furtherfield is a Not-for-Profit Company limited by Guarantee > registered in England and Wales under the Company No.7005205. > Registered business address: Ballard Newman, Apex House, Grand Arcade, > Tally Ho Corner, London N12 0EH. > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > ___ > NetBehaviour mailing > listNetBehaviour@netbehaviour.orghttp://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > helen varle
Re: [NetBehaviour] Maecenas
Ha hah! what do you mean by "value", ruth? value to whom? monetary value, cultural value, nostalgic value, personal value ... ?? value to anyone with a stake in the question and all of the above kinds of value and more (please proliferate) & then, what do you mean by "art" and "artists" ... every possible definition of art as defined by art lovers, critics, historians, machines and artists as defined by themselves and others h ;) But I'm not sure that is the question I was looking for! Ruth On 11.10.2017 10:51, Gretta Louw wrote: I’ve been spending a lot of time puzzling over social media lately and think (horrifyingly) that the value of the latter is increasingly measured in instagram followers - we’re not yet at the point of openly sponsored posts, but indirectly I think it’s already happening… On 11. Oct 2017, at 09:58, ruth catlow <mailto:ruth.cat...@furtherfield.org>> wrote: Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. I have a question brewing - that I want to run by everyone - about the value of art and artists now and in the future. If anyone can tell me what that question is I'd be very interested to hear what it is;) Otherwise...soon... :! On 09/10/17 09:22, helen varley jamieson wrote: agree. thank goodness my art is mostly ephemeral & can't be stuck with a financial pin like a dead butterfly ... On 07.10.2017 02:29, Alan Sondheim wrote: I noticed this - "Maecenas touts itself as a blockchain platform that, according to its creators, will democratise access to fine art. For the first time, the Maecenas website enthuses, technology will allow investors, collectors and owners to exchange shares in paintings and sculptures instantly, akin to the way stocks of a company are traded today." This does NOT democratise access to art; it's nothing more than a secure way to protect and exchange's one investment - which plays into the notion of enclaving described in Mike Davis' City of Quartz (think it was written in the 80s). Art has to RESIST enclaving, unless one accepts useless decoration and connoisseurship as the only form of art worth considering. One of the amazing things about Furtherfield is, at least as far as I can tell, it itself is a form of resistance! I'd thank God for this, but given the state of things on the planet, I wouldn't want to burden Her with more communication. - Alan ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com <http://www.creative-catalyst.com/> http://www.upstage.org.nz <http://www.upstage.org.nz/> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote: > Perfectly put Helen! > Art reframed as a new asset class for fractional ownership ain't my > idea of utopia. """Marly studied the quotations. Pollock was down again. This, she supposed, was the aspect of art that she had the most difficulty understanding. Picard, if that was the man's name, was speaking with a broker in New York, arranging the purchase of a certain number of "points" of the work of a particular artist. A "point" might be defined in any number of ways, depending on the medium involved, but it was almost certain that Picard would never see the works he was purchasing. If the artist enjoyed sufficient status, the originals were very likely crated away in some vault, where no one saw them at all. Days or years later, Picard might pick up that same phone and order the broker to sell. """ - William Gibson, "Count Zero", 1986. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Patrick Tresset exhibition PV and conversation with Dr Nick Lambert
Dear All I am very pleased to announce our new exhibition, Whilst we were here... by Patrick Tresset, which opens at Watermans on Wednesday 18 October. I hope you can join us for the launch event. *In Conversation: Patrick Tresset and Dr Nick Lambert * Wednesday 18 October, 6.30-8.30pm FREE Please book your place on https://www.watermans.org.uk/events/patrick-tresset-in-conversation-with-dr-nicholas-lambert/ The conversation will take place in the theatre and will last approximately 45 minutes, followed by drinks in the gallery. In partnership with the Computer Arts Society Artist Patrick Tresset and Dr Nick Lambert (Head of Research at Greenwich Peninsula's Ravensbourne and lecturer in Digital Art and Culture at Birkbeck College) will discuss Tresset's work creating theatrical installations using robots, including the new work presented in his new exhibition at Watermans. Best wishes Irini -- Irini Papadimitriou Head of New Media Arts Development Watermans 40 High Street Brentford TW8 0DS Direct line: +44 (0)20 8232 1012 Admin: +44 (0)20 8232 1020 www.watermans.org.uk ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] CryptoParty in East London - Monday 16th Oct
Hi All, Just a quick email to let you know that, as @CryptoPartyLDN, we are organising a CryptoParty in East London on Monday 16th Oct. More details about the event: https://www.cryptoparty.in/london More background on what a CryptoParty is: https://www.cryptoparty.in/ Hope this can be of interest and looking forward to seeing some of you there. Regards, Fabio. -- Fabio Natali https://fabionatali.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
it is all ephemeral, but/and archiving (something, somehow) is still
important. but only in moderate proportions.
On 11.10.2017 04:42, Rob Myers wrote:
> "Look upon my [net]works, ye mighty..."
>
> Here's a list of dead blockchains.
>
> >From 2014.
>
> https://bitcointalk.org/index.php?topic=588413.0
>
> The list has only grown since then.
>
> I was recently asked to exhibit a project from two years ago that I
> couldn't because the service it relied on was no longer operational.
>
> Ken Wark is bearish on "digital collectibles" -
>
> http://www.e-flux.com/journal/85/156418/my-collectible-ass/
>
> But I find the illusion of permanence that millions of dollars of
> security a day can give is irresistible. ;-)
>
> - Rob.
>
> On Mon, 9 Oct 2017, at 08:54 PM, John Hopkins wrote:
>> On 09/Oct/17 02:22, helen varley jamieson wrote:
>>> agree. thank goodness my art is mostly ephemeral & can't be stuck with a
>>> financial pin like a dead butterfly ...
>> Hah, thanks for that little reminder! Let's hear it for ephemeral
>> networked art
>> ("you had to be there" was the best reply I ever came up with when folks
>> used to
>> ask "what was that work about?"). OTOH, as a confirmed archivist, I try
>> to
>> capture some of those butterflies and stick pins through them -- but that
>> effort
>> is absolutely an impossible fight against entropy these days. The archive
>> is too
>> large, and formats for presentation are changing so fast. I am teetering
>> on the
>> edge of giving up -- right now I'd have to re-code all video works, and
>> completely reformat a 7500-entry blog to 'work' properly with the newest
>> iteration of WordPress. I refuse to go to corporate social media formats
>> of
>> distribution. And the 'punishment' of maintaining "a self-maintained
>> island of
>> personal research and expression in a sea of corporately hosted and
>> filtered
>> content" is getting to be too much. The full-time job has wrung all the
>> resistent mojo outta this former-networker.
>>
>>
>>
>> Hard to remember that it is *all* ephemeral. Even the highest wall, the
>> biggest
>> museum, and grandest civilization...
>>
>> so it goes.
>>
>> jh
>>
>> --
>> ++
>> Dr. John Hopkins, BSc, MFA, PhD
>> hanging on to the Laramide Orogeny
>> twitter: @neoscenes
>> http://tech-no-mad.net/blog/
>> ++
>> ___
>> 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
>
--
helen varley jamieson
he...@creative-catalyst.com <mailto:he...@creative-catalyst.com>
http://www.creative-catalyst.com
http://www.upstage.org.nz
___
NetBehaviour mailing list
NetBehaviour@netbehaviour.org
http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
what do you mean by "value", ruth? value to whom? monetary value, cultural value, nostalgic value, personal value ... ?? & then, what do you mean by "art" and "artists" ... h ;) On 11.10.2017 10:51, Gretta Louw wrote: > I’ve been spending a lot of time puzzling over social media lately and > think (horrifyingly) that the value of the latter is increasingly > measured in instagram followers - we’re not yet at the point of openly > sponsored posts, but indirectly I think it’s already happening… > > > > >> On 11. Oct 2017, at 09:58, ruth catlow > <mailto:ruth.cat...@furtherfield.org>> wrote: >> >> Perfectly put Helen! >> Art reframed as a new asset class for fractional ownership ain't my >> idea of utopia. >> >> I have a question brewing - that I want to run by everyone - about >> the value of art and artists now and in the future. >> >> If anyone can tell me what that question is I'd be very interested to >> hear what it is;) >> >> Otherwise...soon... >> :! >> >> On 09/10/17 09:22, helen varley jamieson wrote: >>> >>> agree. thank goodness my art is mostly ephemeral & can't be stuck >>> with a financial pin like a dead butterfly ... >>> >>> >>> On 07.10.2017 02:29, Alan Sondheim wrote: >>>> >>>> I noticed this - >>>> >>>> "Maecenas touts itself as a blockchain platform that, according to >>>> its creators, will democratise access to fine art. For the first >>>> time, the Maecenas website enthuses, technology will allow >>>> investors, collectors and owners to exchange shares in paintings >>>> and sculptures instantly, akin to the way stocks of a company are >>>> traded today." >>>> >>>> This does NOT democratise access to art; it's nothing more than a >>>> secure way to protect and exchange's one investment - which plays >>>> into the notion of enclaving described in Mike Davis' City of >>>> Quartz (think it was written in the 80s). Art has to RESIST >>>> enclaving, unless one accepts useless decoration and >>>> connoisseurship as the only form of art worth considering. >>>> >>>> One of the amazing things about Furtherfield is, at least as far as >>>> I can tell, it itself is a form of resistance! I'd thank God for >>>> this, but given the state of things on the planet, I wouldn't want >>>> to burden Her with more communication. >>>> >>>> - Alan >>>> ___ >>>> NetBehaviour mailing list >>>> NetBehaviour@netbehaviour.org >>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>>> >>> >>> -- >>> helen varley jamieson >>> he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> >>> http://www.creative-catalyst.com <http://www.creative-catalyst.com/> >>> http://www.upstage.org.nz <http://www.upstage.org.nz/> >>> >>> >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> -- >> Co-founder Co-director >> Furtherfield >> >> www.furtherfield.org >> >> +44 (0) 77370 02879 >> >> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i >> >> Furtherfield is the UK's leading organisation for art shows, labs, & >> debates >> around critical questions in art and technology, since 1997 >> >> Furtherfield is a Not-for-Profit Company limited by Guarantee >> registered in England and Wales under the Company No.7005205. >> Registered business address: Ballard Newman, Apex House, Grand >> Arcade, Tally Ho Corner, London N12 0EH. >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] An Abstraction?
Hi Pall, Sorry if I came across as being critical (it's for that reason that I've abandoned a number of other correspondences here), but I do appreciate the effort and wit that you put into these pieces. I'll only add that after submitting I realized that I said "non-figurative" when I meant "non-objective" – which might open a whole other cans of worms in light of OOO (cf, "theCanvas"). Where issues of design and intention might have once been encapsulated in the formalism of abstraction, the abstraction of social relevance here might be hidden to those without slow computers or non-coders. On Wed, Oct 11, 2017 at 7:00 AM, wrote: > > Subject: Re: [NetBehaviour] An Abstraction? > -- - *Anthony Stephenson* *http://anthonystephenson.org/* <http://anthonystephenson.org/> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
I’ve been spending a lot of time puzzling over social media lately and think (horrifyingly) that the value of the latter is increasingly measured in instagram followers - we’re not yet at the point of openly sponsored posts, but indirectly I think it’s already happening… > On 11. Oct 2017, at 09:58, ruth catlow wrote: > > Perfectly put Helen! > Art reframed as a new asset class for fractional ownership ain't my idea of > utopia. > > I have a question brewing - that I want to run by everyone - about the value > of art and artists now and in the future. > > If anyone can tell me what that question is I'd be very interested to hear > what it is;) > > Otherwise...soon... > :! > > On 09/10/17 09:22, helen varley jamieson wrote: >> agree. thank goodness my art is mostly ephemeral & can't be stuck with a >> financial pin like a dead butterfly ... >> >> On 07.10.2017 02:29, Alan Sondheim wrote: >>> >>> I noticed this - >>> >>> "Maecenas touts itself as a blockchain platform that, according to its >>> creators, will democratise access to fine art. For the first time, the >>> Maecenas website enthuses, technology will allow investors, collectors and >>> owners to exchange shares in paintings and sculptures instantly, akin to >>> the way stocks of a company are traded today." >>> >>> This does NOT democratise access to art; it's nothing more than a secure >>> way to protect and exchange's one investment - which plays into the notion >>> of enclaving described in Mike Davis' City of Quartz (think it was written >>> in the 80s). Art has to RESIST enclaving, unless one accepts useless >>> decoration and connoisseurship as the only form of art worth considering. >>> >>> One of the amazing things about Furtherfield is, at least as far as I can >>> tell, it itself is a form of resistance! I'd thank God for this, but given >>> the state of things on the planet, I wouldn't want to burden Her with more >>> communication. >>> >>> - Alan >>> ___ >>> NetBehaviour mailing list >>> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >>> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> >>> >> >> -- >> helen varley jamieson >> he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> >> http://www.creative-catalyst.com <http://www.creative-catalyst.com/> >> http://www.upstage.org.nz <http://www.upstage.org.nz/> >> >> ___ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org <mailto:NetBehaviour@netbehaviour.org> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> <http://www.netbehaviour.org/mailman/listinfo/netbehaviour> > -- > Co-founder Co-director > Furtherfield > > www.furtherfield.org <http://www.furtherfield.org/> > > +44 (0) 77370 02879 > > Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i > > Furtherfield is the UK's leading organisation for art shows, labs, & debates > around critical questions in art and technology, since 1997 > > Furtherfield is a Not-for-Profit Company limited by Guarantee > registered in England and Wales under the Company No.7005205. > Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally > Ho Corner, London N12 0EH. > ___ > 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] Maecenas
Perfectly put Helen! Art reframed as a new asset class for fractional ownership ain't my idea of utopia. I have a question brewing - that I want to run by everyone - about the value of art and artists now and in the future. If anyone can tell me what that question is I'd be very interested to hear what it is;) Otherwise...soon... :! On 09/10/17 09:22, helen varley jamieson wrote: agree. thank goodness my art is mostly ephemeral & can't be stuck with a financial pin like a dead butterfly ... On 07.10.2017 02:29, Alan Sondheim wrote: I noticed this - "Maecenas touts itself as a blockchain platform that, according to its creators, will democratise access to fine art. For the first time, the Maecenas website enthuses, technology will allow investors, collectors and owners to exchange shares in paintings and sculptures instantly, akin to the way stocks of a company are traded today." This does NOT democratise access to art; it's nothing more than a secure way to protect and exchange's one investment - which plays into the notion of enclaving described in Mike Davis' City of Quartz (think it was written in the 80s). Art has to RESIST enclaving, unless one accepts useless decoration and connoisseurship as the only form of art worth considering. One of the amazing things about Furtherfield is, at least as far as I can tell, it itself is a form of resistance! I'd thank God for this, but given the state of things on the planet, I wouldn't want to burden Her with more communication. - Alan _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] An Abstraction?
Hi Anthony. I find your response very confusing. I think you're missing the point. If you feel that the code is not performing as it should, feel free to change it and replace the orginal code with your own. "An Abstraction?" is more of a prompt than a title. If you don't agree, change it to something you agree with. That's the whole idea behind this project. You can "steal" it and make it do whatever you want. On Mon, Oct 9, 2017 at 5:50 PM Anthony Stephenson wrote: > To answer your question: No, that would be non-figurative work. (Although > I suppose colloquial usage is acceptable.) > You'll have to pardon me I was just re-reading a couple chapters on > abstraction in a book called Speculative Aesthetics and felt compelled to > say at least something. Perhaps I'm not seeing it, but abstraction is > typically model-dependent. > > - Anthony Stephenson > > > > On Oct 9, 2017, at 7:00 AM, netbehaviour-requ...@netbehaviour.org wrote: > > > > An Abstraction? > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
"Look upon my [net]works, ye mighty..."
Here's a list of dead blockchains.
>From 2014.
https://bitcointalk.org/index.php?topic=588413.0
The list has only grown since then.
I was recently asked to exhibit a project from two years ago that I
couldn't because the service it relied on was no longer operational.
Ken Wark is bearish on "digital collectibles" -
http://www.e-flux.com/journal/85/156418/my-collectible-ass/
But I find the illusion of permanence that millions of dollars of
security a day can give is irresistible. ;-)
- Rob.
On Mon, 9 Oct 2017, at 08:54 PM, John Hopkins wrote:
> On 09/Oct/17 02:22, helen varley jamieson wrote:
> > agree. thank goodness my art is mostly ephemeral & can't be stuck with a
> > financial pin like a dead butterfly ...
>
> Hah, thanks for that little reminder! Let's hear it for ephemeral
> networked art
> ("you had to be there" was the best reply I ever came up with when folks
> used to
> ask "what was that work about?"). OTOH, as a confirmed archivist, I try
> to
> capture some of those butterflies and stick pins through them -- but that
> effort
> is absolutely an impossible fight against entropy these days. The archive
> is too
> large, and formats for presentation are changing so fast. I am teetering
> on the
> edge of giving up -- right now I'd have to re-code all video works, and
> completely reformat a 7500-entry blog to 'work' properly with the newest
> iteration of WordPress. I refuse to go to corporate social media formats
> of
> distribution. And the 'punishment' of maintaining "a self-maintained
> island of
> personal research and expression in a sea of corporately hosted and
> filtered
> content" is getting to be too much. The full-time job has wrung all the
> resistent mojo outta this former-networker.
>
>
>
> Hard to remember that it is *all* ephemeral. Even the highest wall, the
> biggest
> museum, and grandest civilization...
>
> so it goes.
>
> jh
>
> --
> ++
> Dr. John Hopkins, BSc, MFA, PhD
> hanging on to the Laramide Orogeny
> twitter: @neoscenes
> http://tech-no-mad.net/blog/
> ++
> ___
> 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] Rabidity ~~
395 singletons species found only once and 224 doubletons. Another 279 were captured prior to 1950 and havent been seen again due to range shifts, pollution, the effects of invasive species, and other factors." - from "Hidden World of Narragansett Bay on the Rebound," Todd McLeish, https://www.ecori.org/narragansett-bay/2017/10/4/hidden-undersea-world-of-narragansett-bay-on-rebound --- < times; so it might appear as substance, at best dynamic --- times; so that it might appear as substance, at best dynamic < matter the reality. --- reduction, no matter the reality. < The chain is a walkalong; the network is a walkabout. Notice the --- The chain is a walkabout; the network is a walkabout. Note the < of a bead from one place to another. --- < channel/carrying capacity/information model holds in a minscule --- channel/carrying capacity/information model holds in a miniscule < No 0,1, no beginnings and endings, (but) what might pass for a < (momentary) glance, something of the nature of attention or of --- No (0),(1), no beginnings and endings, (but) what might pass for -- < --- -- ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
On 09/Oct/17 02:22, helen varley jamieson wrote:
agree. thank goodness my art is mostly ephemeral & can't be stuck with a
financial pin like a dead butterfly ...
Hah, thanks for that little reminder! Let's hear it for ephemeral networked art
("you had to be there" was the best reply I ever came up with when folks used to
ask "what was that work about?"). OTOH, as a confirmed archivist, I try to
capture some of those butterflies and stick pins through them -- but that effort
is absolutely an impossible fight against entropy these days. The archive is too
large, and formats for presentation are changing so fast. I am teetering on the
edge of giving up -- right now I'd have to re-code all video works, and
completely reformat a 7500-entry blog to 'work' properly with the newest
iteration of WordPress. I refuse to go to corporate social media formats of
distribution. And the 'punishment' of maintaining "a self-maintained island of
personal research and expression in a sea of corporately hosted and filtered
content" is getting to be too much. The full-time job has wrung all the
resistent mojo outta this former-networker.
Hard to remember that it is *all* ephemeral. Even the highest wall, the biggest
museum, and grandest civilization...
so it goes.
jh
--
++
Dr. John Hopkins, BSc, MFA, PhD
hanging on to the Laramide Orogeny
twitter: @neoscenes
http://tech-no-mad.net/blog/
++
___
NetBehaviour mailing list
NetBehaviour@netbehaviour.org
http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] An Abstraction?
To answer your question: No, that would be non-figurative work. (Although I suppose colloquial usage is acceptable.) You'll have to pardon me I was just re-reading a couple chapters on abstraction in a book called Speculative Aesthetics and felt compelled to say at least something. Perhaps I'm not seeing it, but abstraction is typically model-dependent. - Anthony Stephenson > On Oct 9, 2017, at 7:00 AM, netbehaviour-requ...@netbehaviour.org wrote: > > An Abstraction? ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] somatic-haptic mirror
somatic-haptic mirror http://www.alansondheim.org/aud38.jpg https://youtu.be/mA3DyZzWkXE http://www.alansondheim.org/aud29.jpg somatic somatic somatic somatic haptic somatic somatic mirror somatic somatic somatic somatic somatic haptic somatic somatic haptic somatic mirror mirror somatic mirror mirror somatic haptic somatic somatic haptic mirror haptic haptic mirror somatic haptic haptic somatic somatic somatic somatic somatic somatic somatic somatic haptic haptic mirror haptic mirror mirror haptic mirror somatic somatic somatic somatic somatic somatic haptic somatic somatic haptic haptic mirror mirror somatic haptic mirror somatic haptic somatic mirror haptic somatic somatic mirror somatic haptic haptic haptic haptic mirror mirror somatic mirror haptic mirror haptic somatic mirror somatic somatic mirror haptic haptic haptic somatic mirror haptic mirror somatic haptic somatic somatic somatic somatic somatic mirror haptic mirror somatic mirror somatic mirror somatic haptic haptic haptic somatic haptic mirror mirror mirror somatic mirror somatic haptic haptic mirror mirror mirror haptic haptic mirror somatic haptic haptic somatic somatic somatic somatic mirror haptic haptic mirror mirror mirror mirror haptic haptic somatic haptic somatic somatic haptic somatic mirror somatic haptic haptic somatic haptic somatic somatic haptic somatic haptic haptic somatic mirror somatic mirror haptic somatic mirror somatic haptic somatic mirror somatic haptic somatic haptic somatic mirror somatic haptic mirror mirror mirror somatic mirror somatic mirror haptic haptic haptic haptic haptic haptic mirror somatic mirror haptic somatic haptic mirror somatic somatic somatic mirror haptic somatic somatic somatic haptic somatic somatic mirror haptic mirror mirror mirror mirror somatic mirror mirror mirror haptic haptic mirror somatic mirror mirror somatic mirror somatic somatic haptic mirror somatic somatic somatic haptic haptic mirror somatic somatic haptic haptic haptic mirror mirror mirror somatic haptic haptic mirror mirror haptic haptic mirror haptic mirror mirror mirror mirror mirror mirror mirror mirror haptic haptic somatic mirror mirror haptic somatic somatic somatic mirror --- In case you've missed the music (we still have a holiday here in the States), the new songs are at http://www.alansondheim.org/yearning1.mp3 http://www.alansondheim.org/yearning2.mp3 and http://www.alansondheim.org/cccafe.mp3 version 1 http://www.alansondheim.org/cccafe2.mp3 version 2 The lyrics are in http://www.alansondheim.org/ux.txt And thanks for listening. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
agree. thank goodness my art is mostly ephemeral & can't be stuck with a financial pin like a dead butterfly ... On 07.10.2017 02:29, Alan Sondheim wrote: > > I noticed this - > > "Maecenas touts itself as a blockchain platform that, according to its > creators, will democratise access to fine art. For the first time, the > Maecenas website enthuses, technology will allow investors, collectors > and owners to exchange shares in paintings and sculptures instantly, > akin to the way stocks of a company are traded today." > > This does NOT democratise access to art; it's nothing more than a > secure way to protect and exchange's one investment - which plays into > the notion of enclaving described in Mike Davis' City of Quartz (think > it was written in the 80s). Art has to RESIST enclaving, unless one > accepts useless decoration and connoisseurship as the only form of art > worth considering. > > One of the amazing things about Furtherfield is, at least as far as I > can tell, it itself is a form of resistance! I'd thank God for this, > but given the state of things on the planet, I wouldn't want to burden > Her with more communication. > > - Alan > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- helen varley jamieson he...@creative-catalyst.com <mailto:he...@creative-catalyst.com> http://www.creative-catalyst.com http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Steal This CodeArt
Yes, technically, that could be done. On Sun, Oct 8, 2017 at 3:31 PM Alan Sondheim wrote: > > I was thinking of locking up the program; letting it run but closing down, > internally, the ability to change anything, after a brief window. So for > the participant, it's a kind of frustrating game, maybe paralleling the > way the old tetris always eventually outstrips the player? > > On Sun, 8 Oct 2017, Pall Thayer wrote: > > > Alan, do you mean as in freezing up the browser? The code is all there > and > > free for anyone to edit. Not sure if it would be possible to lock up the > > browser. I think most browsers have protections built in to detect and > stop > > that sort of thing. I could be wrong though. > > > > On Sun, Oct 8, 2017 at 3:00 PM Alan Sondheim wrote: > > > > > > Really like these as well. Is there a way to have the process > > sped up, out > > of control, shut down, locked tight, closing fast the window of > > opportunity to alter the program? > > > > On Sun, 8 Oct 2017, Annie Abrahams wrote: > > > > > super Pall > > > > > > On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer > >wrote: > > >?? ? ?Acouple of years ago I started a project that I called > "Objects > > >?? ? ?of Art", a growing collection of art 'sketches' based on > > >?? ? ?JavaScript objects. The website allowed users to edit the > codes > > >?? ? ?and run them with their changes. My plan was always to add a > > >?? ? ?feature that would allow others to save their altered > versions > > >?? ? ?to the site. I finally got to work on that but in > considering > > >?? ? ?how to do it, I got an idea that drastically altered the > > >?? ? ?concept. So I have re-released it under a new title. > > > The new work is called "Steal This ArtCode". It's still a > > collection > > > of art sketches based on JavaScript objects but now others who > > visit > > > the site can alter the code and overwrite the original as well > > as > > > taking ownership by applying their own name to it. > > > > > > The work is > > here:?http://pallthayer.dyndns.org/stealthiscodeart > > > -- > > > P Thayer, Artist > > > http://pallthayer.dyndns.org > > > > > > ___ > > > NetBehaviour mailing list > > > NetBehaviour@netbehaviour.org > > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > > > > > > > > > > -- > > > > > > Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence, > > festival M?q, hTh, > > > Montpellier. > > > > > > L?entrelangue ? trois, 28/10 20h Rencontre performatif avec > > Christophe Beyler, > > > Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian. > > > > > > > > > > New CD:- LIMIT: > > http://www.publiceyesore.com/catalog.php?pg=3&pit=138 > > email archive http://sondheim.rupamsunyata.org/ > > web http://www.alansondheim.org / cell 718-813-3285 > <(718)%20813-3285> > > current text http://www.alansondheim.org/uw.txt > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > -- > > P Thayer, Artist > > http://pallthayer.dyndns.org > > > > > > New CD:- LIMIT: > http://www.publiceyesore.com/catalog.php?pg=3&pit=138 > email archive http://sondheim.rupamsunyata.org/ > web http://www.alansondheim.org / cell 718-813-3285 <(718)%20813-3285> > current text http://www.alansondheim.org/uw.txt > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Steal This CodeArt
I was thinking of locking up the program; letting it run but closing down, internally, the ability to change anything, after a brief window. So for the participant, it's a kind of frustrating game, maybe paralleling the way the old tetris always eventually outstrips the player? On Sun, 8 Oct 2017, Pall Thayer wrote: Alan, do you mean as in freezing up the browser? The code is all there and free for anyone to edit. Not sure if it would be possible to lock up the browser. I think most browsers have protections built in to detect and stop that sort of thing. I could be wrong though. On Sun, Oct 8, 2017 at 3:00 PM Alan Sondheim wrote: Really like these as well. Is there a way to have the process sped up, out of control, shut down, locked tight, closing fast the window of opportunity to alter the program? On Sun, 8 Oct 2017, Annie Abrahams wrote: > super Pall > > On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer wrote: >?? ? ?Acouple of years ago I started a project that I called "Objects >?? ? ?of Art", a growing collection of art 'sketches' based on >?? ? ?JavaScript objects. The website allowed users to edit the codes >?? ? ?and run them with their changes. My plan was always to add a >?? ? ?feature that would allow others to save their altered versions >?? ? ?to the site. I finally got to work on that but in considering >?? ? ?how to do it, I got an idea that drastically altered the >?? ? ?concept. So I have re-released it under a new title. > The new work is called "Steal This ArtCode". It's still a collection > of art sketches based on JavaScript objects but now others who visit > the site can alter the code and overwrite the original as well as > taking ownership by applying their own name to it. > > The work is here:?http://pallthayer.dyndns.org/stealthiscodeart > -- > P Thayer, Artist > http://pallthayer.dyndns.org > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > -- > > Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence, festival M?q, hTh, > Montpellier. > > L?entrelangue ? trois, 28/10 20h Rencontre performatif avec Christophe Beyler, > Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian. > > New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- P Thayer, Artist http://pallthayer.dyndns.org New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Steal This CodeArt
Alan, do you mean as in freezing up the browser? The code is all there and free for anyone to edit. Not sure if it would be possible to lock up the browser. I think most browsers have protections built in to detect and stop that sort of thing. I could be wrong though. On Sun, Oct 8, 2017 at 3:00 PM Alan Sondheim wrote: > > > Really like these as well. Is there a way to have the process sped up, out > of control, shut down, locked tight, closing fast the window of > opportunity to alter the program? > > On Sun, 8 Oct 2017, Annie Abrahams wrote: > > > super Pall > > > > On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer wrote: > > A couple of years ago I started a project that I called "Objects > > of Art", a growing collection of art 'sketches' based on > > JavaScript objects. The website allowed users to edit the codes > > and run them with their changes. My plan was always to add a > > feature that would allow others to save their altered versions > > to the site. I finally got to work on that but in considering > > how to do it, I got an idea that drastically altered the > > concept. So I have re-released it under a new title. > > The new work is called "Steal This ArtCode". It's still a collection > > of art sketches based on JavaScript objects but now others who visit > > the site can alter the code and overwrite the original as well as > > taking ownership by applying their own name to it. > > > > The work is here:?http://pallthayer.dyndns.org/stealthiscodeart > > -- > > P Thayer, Artist > > http://pallthayer.dyndns.org > > > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > > > > > > -- > > > > Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence, festival M?q, > hTh, > > Montpellier. > > > > L?entrelangue ? trois, 28/10 20h Rencontre performatif avec Christophe > Beyler, > > Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian. > > > > > > New CD:- LIMIT: > http://www.publiceyesore.com/catalog.php?pg=3&pit=138 > email archive http://sondheim.rupamsunyata.org/ > web http://www.alansondheim.org / cell 718-813-3285 <(718)%20813-3285> > current text http://www.alansondheim.org/uw.txt > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] distributed networked intelligence
distributed networked intelligence Blue lobster in Bristol RI Audubon Society aquarium. I'm thinking about networked intelligence here, the relationship between complex articulations and overall systems behavior - and how we, as humans, tend to think of intelligence as located instead in a primary organ. Image: http://www.alansondheim.org/aud31.jpg blue lobster Video: https://youtu.be/vfALP-jPGm8 Image: http://www.alansondheim.org/aud33.jpg starfish tentacles Even systems ontologies break down; given that there is a consciousness at work here, that numerous limbs and joints need local and overall articulation, we have to admit, as so many already have, that we've got intelligence wrong, that distribution creates an economy of energy and localization that's absolutely brilliant, that results in different ways of thinking, even of life and death - consider the wood-net for example, or hive behavior; think of slime-molds or the dominating micro-biomes of the human body, in fact of almost every larger organism. Move not to the grid, but to transport topologies; our singular 'I' (ipod, ipad, my--) is fundamentally diffused, and what brilliance lies there, if one only has the patience to _look._ This lobster is a case in point; arms and feeding mechanisms interlock, as if they were communities them- selves. They're not, of course; there simply may not be the Barthian _punctum_ we insist on, from the vanishing-point inherent in three-dimensional visual triangulation, to Weyl's ego-location at the origin of the Cartesian graph. Move from geometry and manifolds to rubber-sheet topologies without ontology - pure epistemologies - and then think of this in relationship, first, to the rigidity of digital protocols, and, second, to the flexibility of digital protocols, which require neither realm nor location; so much hacking, for example, is fundamentally anonymous - all that seems to exist are the networks and their dynamics. Forget our heads and brains, look without looking at the flexible and networked habitus that constitutes our very existence on the planet; if we do so we might comprehend a bit more of the intelligence around us. (One might argue that what occurs might only be a simulacrum of intelligence, certainly not of consciousness. I err on the side of consciousness. We had, for close to a year, a fresh-water crayfish in a tank with fish and plants; we observed it (sex indeterminate) for a year, and it seemed clear to us that it was capable of recognition (it could tell us apart), trans-species relationships (with one fish in particular, with us as well), learning and meta-learning in Bateson's sense (based on climbing behavior), and so forth. Recognition was mutual recognition, that much was clear; whether or not the crayfish thought us worthy of consciousness seemed almost beside the point.) - - - In case you've missed the music (we have a holiday here in the States), the new songs are at http://www.alansondheim.org/yearning1.mp3 http://www.alansondheim.org/yearning2.mp3 and http://www.alansondheim.org/cccafe.mp3 version 1 http://www.alansondheim.org/cccafe2.mp3 version 2 The lyrics are in http://www.alansondheim.org/ux.txt Thanks for listening. _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Steal This CodeArt
Really like these as well. Is there a way to have the process sped up, out of control, shut down, locked tight, closing fast the window of opportunity to alter the program? On Sun, 8 Oct 2017, Annie Abrahams wrote: super Pall On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer wrote: A couple of years ago I started a project that I called "Objects of Art", a growing collection of art 'sketches' based on JavaScript objects. The website allowed users to edit the codes and run them with their changes. My plan was always to add a feature that would allow others to save their altered versions to the site. I finally got to work on that but in considering how to do it, I got an idea that drastically altered the concept. So I have re-released it under a new title. The new work is called "Steal This ArtCode". It's still a collection of art sketches based on JavaScript objects but now others who visit the site can alter the code and overwrite the original as well as taking ownership by applying their own name to it. The work is here:?http://pallthayer.dyndns.org/stealthiscodeart -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Qu'est-ce et pourquoi agency art ? 12/10 18h Conf?rence, festival M?q, hTh, Montpellier. L?entrelangue ? trois, 28/10 20h Rencontre performatif avec Christophe Beyler, Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian. New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Steal This CodeArt
super Pall On Sun, Oct 8, 2017 at 2:52 PM, Pall Thayer wrote: > A couple of years ago I started a project that I called "Objects of Art", > a growing collection of art 'sketches' based on JavaScript objects. The > website allowed users to edit the codes and run them with their changes. My > plan was always to add a feature that would allow others to save their > altered versions to the site. I finally got to work on that but in > considering how to do it, I got an idea that drastically altered the > concept. So I have re-released it under a new title. > > The new work is called "Steal This ArtCode". It's still a collection of > art sketches based on JavaScript objects but now others who visit the site > can alter the code and overwrite the original as well as taking ownership > by applying their own name to it. > > The work is here: http://pallthayer.dyndns.org/stealthiscodeart > -- > P Thayer, Artist > http://pallthayer.dyndns.org > > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- *Qu'est-ce et pourquoi agency art ?* 12/10 18h Conférence, festival Mèq <http://www.humaintrophumain.fr/web/events/meq-festival-%e2%80%a2-j1/>*, *hTh, Montpellier. *L’entrelangue à trois*, 28/10 20h Rencontre performatif <https://aabrahams.wordpress.com/2017/10/01/lentrelangue-a-trois/> avec Christophe Beyler, Lily Robert-Foley et Annie Abrahams, Espace o25rjj Loupian. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] An Abstraction?
http://pallthayer.dyndns.org/stealthiscodeart/index.php?id=12 -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Steal This CodeArt
A couple of years ago I started a project that I called "Objects of Art", a growing collection of art 'sketches' based on JavaScript objects. The website allowed users to edit the codes and run them with their changes. My plan was always to add a feature that would allow others to save their altered versions to the site. I finally got to work on that but in considering how to do it, I got an idea that drastically altered the concept. So I have re-released it under a new title. The new work is called "Steal This ArtCode". It's still a collection of art sketches based on JavaScript objects but now others who visit the site can alter the code and overwrite the original as well as taking ownership by applying their own name to it. The work is here: http://pallthayer.dyndns.org/stealthiscodeart -- P Thayer, Artist http://pallthayer.dyndns.org ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Yearning, Azure's Newest Song
Yearning, Azure's Newest Song (please share!) http://www.alansondheim.org/yearning1.jpg http://www.alansondheim.org/yearning1.mp3 http://www.alansondheim.org/yearning2.mp3 http://www.alansondheim.org/yearning2.jpg Azure Carter, voice, song; Alan Sondheim, viola Lyrics - Barely escaping human smoke Angels beautiful in chorus In chorus embers even higher And soft, slow sweeps of sky More planets she cries More planets she remembers^ O smoke, O human, O smoke of others embers O songs, O singing, O smoke of dying embers And every day another With its smoke and moons and bother There comes life in choral embers Lives apart in dark departures Dreaming arches full of mist And someones painful sadness^ O smoke, O human, O smoke of others embers O songs, O singing, O smoke of dying embers The cosmos bears and burns Uncanny flesh and tissues There are ones of sadness thinking Everywhere among the stars And someones striking someone Someones world is disappearing^ O smoke, O human, O smoke of others embers O songs, O singing, O smoke of dying embers --- (please share) ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] essence of annihilation
essence of annihilation http://www.alansondheim.org/found01.jpg http://www.alansondheim.org/found03.jpg http://www.alansondheim.org/found04.jpg http://www.alansondheim.org/found07.jpg "We live by constant canceling." - Richard Nonas k8% apropos cancel > zz; perl a/eliminate.pl < zz > yy; pico yy cancel (1) jobs cancels existing print jobs. The -a option will remove all from the specified destination. following options are recognized by cancel: 5 -E Forces encryption when connecting to server. -U username Specifies use... pthread_setcancelstate (3) set cancelability state ...cancelability which may be encoded in two bits: Cancelability Enable When is PTHREAD_CANCEL_DISABLE , cancellation requests against target thread held pending. Type enabled and type PTHREAD_CANCEL_ASYNCHRONOUS new or pending cancellation... lprm that have been queued for printing. If no arguments supplied, current job on default destination cancelled. You can specify one more ID numbers those use the... Tcl_CancelEval Tcl scripts 15 Tcl_Interp Interpreter script. Tcl_Obj Error message cancellation, NULL a message. not NULL, this object its reference count decremented before returns. 15... pthread_cancel execution of ...is point. This default. available points listed pthread_setcanceltype(3) . : canceled at any time. reacts request, occur: cleanup... aio_cancel an outstanding asynchronous I/O operation (REALTIME) system call request file descriptor fildes aiocbp specified, only specific Normal notification occurs cancelled requests. Requests complete... mly (4) Mylex AcceleRAID/eXtremeRAID family driver ...d:%d manual rebuild started mly%d: physical device %d:%d completed failed unknown reasons failed... intro (2) introduction calls error ...An attempt was made change parameter unsupported value. 87 ECANCELED Operation requested canceled. 88 EBADMSG Bad corrupt A catalog did satisfy implementation... sasl_server_init sasl_server_new sasl_server_start sasl_listmech sasl_server_step - SASL server authentication functions. ...0.8i SASL_BADPARAM config 0.8i SASL_NOMECH mechanism meet properties SASL_NOMEM enough memory complete SASL_BADPROT protocol incorrect/cancelled SASL_BADSERV mutual sasl_client_init sasl_client_new sasl_client_start sasl_client_step client aio_write write ...or number bytes aiocbp->aio_nbytes valid. successfully enqueued, but subsequently occurs, value returned aio_return per write(2) call... aio_read read ...the file, beyond aiocbp->aio_fildes offset maximum. read(2) after (n) Execute command time delay ...identifier used delayed using cancel. id Cancels previously scheduled. Id indicates should canceled; it must return... pthread_once dynamic package initialization ...whether associated routine has called. function However, if init_routine () point cancelled, effect once_control as never constant PTHREAD_ONCE_INIT... Tk::after ...ms, so until $widget->afterCancel($id) 4 $id->cancel $id return value... tinews.pl Post sign article via NNTP ...yes" header send out mail-copies. Cancel-Lock secret defined automatically add Cancel-Lock: (and Cancel-Key: required) header. input unix line endings (http://localhost:631/help pmc performance-monitoring counter interface ...time(1) follows: h Display list performance events system. C Cancel counters currently running. c event Count while running command... cupsctl configure cupsd.conf ...SLP protocols. --[no-]share-printers Enables disables sharing local printers with other computers. --[no-]user-cancel-any Allows prevents users canceling owned others. cupsd.conf(5), cupsd(8), Tk::Animation sequence Tk::Photo images ...internal array "Photo" images. "start_animation($period)" then initiates "repeat" $period through these "stop_animation" resets image first sequence. "add_frames" method adds to... pthread_exit terminate calling ...join terminating thread. Any cleanup handlers pushed yet popped reverse order they were executed. After executed, tk_messageBox pops up window waits user response. ...and 18 retrycancel Displays buttons whose symbolic names retry yesno yes no. yesnocancel three yes, message... Tk_ClearSelection Deselect selection ...selection cleared display containing window. Atom name cleared. atom tkwin. need tkwin... cupsdisable stop/start classes ...of connection Uses -c named port. -r "reason... SSL_alert_type_string get textual description alert information ...a allocation failure). always fatal. "US"/"user canceled" handshake being some reason unrelated failure. complete, just closing pthread_join wait termination ...results multiple simultaneous specifying same undefined. detached. exited remains unjoined counts [ ... ] ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Maecenas
I noticed this - "Maecenas touts itself as a blockchain platform that, according to its creators, will democratise access to fine art. For the first time, the Maecenas website enthuses, technology will allow investors, collectors and owners to exchange shares in paintings and sculptures instantly, akin to the way stocks of a company are traded today." This does NOT democratise access to art; it's nothing more than a secure way to protect and exchange's one investment - which plays into the notion of enclaving described in Mike Davis' City of Quartz (think it was written in the 80s). Art has to RESIST enclaving, unless one accepts useless decoration and connoisseurship as the only form of art worth considering. One of the amazing things about Furtherfield is, at least as far as I can tell, it itself is a form of resistance! I'd thank God for this, but given the state of things on the planet, I wouldn't want to burden Her with more communication. - Alan ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] ArtReview: Will the Blockchain make Art Disappear?
More about the blockchain - this time an article about Maecenas, a 'new art registry and trading platform'. https://artreview.com/home/ar_october_2017_opinion_will_the_blockchain_will_make_art_disappear ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] of thinking through years, the 'grasp' or the known'
f paper, the suspension of a vase by a spring, a sprig carried by a stranger, someone we have always known. well, we have always known this, haven't we. we have always known. this is the 'grasp' or the 'known.' - - - supplement then well, sometimes you walk about outside and it looks the same and different and you wonder why you haven't noticed this or that before, and 'outside' you think has nothing to do with you and then you think, well, it has everything to do with you. this is more of the 'grasp' and it has always been 'known' but now it's known in a different way and you find yourself finding yourself not so much here or there, but already fading, you hear the sounds of your absence. well, the sounds of everyone's absence, even your breathing has gone somewhere else you think. well, you think you're thinking or you don't notice what you have already known, your grasp already weak like weak theory, your grasp like glass, flowing elsewhere and not among your time. well, of course it is, but you know you have to wait. well, you have no time for that, the waiting, that is the sinter. you have no time for anything. - - - supplement then well, from a manual of key buddhist terms, lotsawa kawa paltseg, the two truths, a. conventional truth, which divides into 1) correct conventional truth and 2) incorrect conventional truth, and b. ultimate truth, and well now, the conventional becomes trivial, doesn't it, as it splits into truths and half-truths, falsities and rumors, innuendos and potentialities. and well then, the ultimate truth doesn't split, does it, there's no truth table here, there's nothing at all, you don't notice it, do you, it's always already been thus, it might not be there at all, it might be everywhere, it has no space, no time - now, you're going into mysticism, nonsense, metaphysics here, it's the last gasp, isn't it, it's the only thing you have time for, we're all like that, at the end of our rope, the chair's been kicked out from under us, we're in freefall, any nonsense at the end of the day, this is the 'grasp' or the 'unknown,' the retreat of the weakest, we're all alike, aren't we, or not at all, it's the logic of the thought that vanishes - 'unknown,' - - - supplement then well, a lot of things happen in half a century, they happen to us, they happen to most of us, all that passion, grasping, goals and outlines, all those plans and projects, endless lists and dates, the most heartfelt occasions, biographies, memorials, the unutterable - well, there's no same old story, no story here, no end to it all, only those beginnings, coagulations, no one remembers them, our tiny worlds, our eyes, what our eyes see and saw, what we thought they saw, well then, maybe they did, maybe they didn't, well, no 'grasp' now, no 'known,' i wrote that in 2017 - - - ___ 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] calm these spaces in troubled times
calm these spaces in troubled times http://www.alansondheim.org/found23.jpg docklands, east providence http://www.alansondheim.org/found31.jpg great white egret, east providence http://www.alansondheim.org/found48.jpg latenight great blue feeding (30 second exposure) http://www.alansondheim.org/found36.jpg docklands, east providence http://www.alansondheim.org/found52.jpg pigeon wings, young peregrine falcon meal remains http://www.alansondheim.org/found46.jpg latenight fish migration (30 second exposure) and please please give to Puerto Rican hurricane relief thank you ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] 60 Years ago Sputnik 1 - Launched October 4, 1957
Thanks for sharing this; it's incredibly moving to hear the beeps (and now there's the odd Russian station MDZhB at 4625 kHz which I've read about, but can't receive here in Rhode Island). Best!, Alan On Thu, 5 Oct 2017, Johannes Birringer wrote: dear all a Russian friend who lives in Alberta sent me this reminder yesterday, - about Sputnik - and attached a sound file, I share it here with you. On October 4, 1957, the USSR launched Sputnik, the first artificial satellite to orbit Earth. The satellite, an 85-kilogram (187-pound) metal sphere the size of a basketball, was launched on a huge rocket and orbited Earth at 29,000 kilometers per hour (18,000 miles per hour) for three months. When it finally fell out of orbit in January 1958, Sputnik had traveled 70 million kilometers (43.5 million miles) around the planet. The only cargo onboard Sputnik was a low-power radio transmitter, which broadcast a beeping noise at regular intervals. This beeping could be heard by radio listeners around the world. A year after the launch of Sputnik, U.S. President Dwight Eisenhower created the National Aeronautics and Space Administration (NASA), formally launching the "Space Race" between the United States and the Soviet Union. This competition in technological development would lead to the Moon landing, space shuttle, and International Space Station, which still orbits Earth today. regards Johannes Birringer New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] of thinking through years, the 'grasp' or the known'
g carried by a stranger, someone we have always known. well, we have always known this, haven't we. we have always known. this is the 'grasp' or the 'known.' - - - supplement then well, sometimes you walk about outside and it looks the same and different and you wonder why you haven't noticed this or that before, and 'outside' you think has nothing to do with you and then you think, well, it has everything to do with you. this is more of the 'grasp' and it has always been 'known' but now it's known in a different way and you find yourself finding yourself not so much here or there, but already fading, you hear the sounds of your absence. well, the sounds of everyone's absence, even your breathing has gone somewhere else you think. well, you think you're thinking or you don't notice what you have already known, your grasp already weak like weak theory, your grasp like glass, flowing elsewhere and not among your time. well, of course it is, but you know you have to wait. well, you have no time for that, the waiting, that is the sinter. you have no time for anything. - - - supplement then well, from a manual of key buddhist terms, lotsawa kawa paltseg, the two truths, a. conventional truth, which divides into 1) correct conventional truth and 2) incorrect conventional truth, and b. ultimate truth, and well now, the conventional becomes trivial, doesn't it, as it splits into truths and half-truths, falsities and rumors, innuendos and potentialities. and well then, the ultimate truth doesn't split, does it, there's no truth table here, there's nothing at all, you don't notice it, do you, it's always already been thus, it might not be there at all, it might be everywhere, it has no space, no time - now, you're going into mysticism, nonsense, metaphysics here, it's the last gasp, isn't it, it's the only thing you have time for, we're all like that, at the end of our rope, the chair's been kicked out from under us, we're in freefall, any nonsense at the end of the day, this is the 'grasp' or the 'unknown,' the retreat of the weakest, we're all alike, aren't we, or not at all, it's the logic of the thought that vanishes - 'unknown,' - - - supplement then well, a lot of things happen in half a century, they happen to us, they happen to most of us, all that passion, grasping, goals and outlines, all those plans and projects, endless lists and dates, the most heartfelt occasions, biographies, memorials, the unutterable - well, there's no same old story, no story here, no end to it all, only those beginnings, coagulations, no one remembers them, our tiny worlds, our eyes, what our eyes see and saw, what we thought they saw, well then, maybe they did, maybe they didn't, well, no 'grasp' now, no 'known,' i wrote that in 2017 - - - ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] on blockchain, etc. -
might be relevant here? https://blog.p2pfoundation.net/data-technologies-colonize-the-ontological-frontier/2017/10/04 (from Michel Bauwens on G+) ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] BLUE, Azure's new Song!
BLUE, Azure's new Song! http://www.alansondheim.org/blue10.jpg http://www.alansondheim.org/cccafe.mp3 version 1 http://www.alansondheim.org/cccafe2.mp3 version 2 http://www.alansondheim.org/blue26.jpg http://www.alansondheim.org/blue11.jpg vocals, song, Azure Carter sarangi, Alan Sondheim BLUE Latenight at the C. C. Cafe And the orkestra repeats Over and over / Again sound the same Someone gets up / Plays with them This and that / No one says a word Over and over / Sounds another Gets up and sits down Gets up and plays with them And no one says a word The orkestra goes on Blue. Says she can listen to this all night long Blue. Says she feels better now thank you very much Play again blue. Says I feel something coming on Blue. Says play again someones coming in Blue. Says she can listen to this all night long Blue. Says she feels better now thank you very much Play again blue. Says I feel something coming on Blue. Says play again someones coming in Hir flesh wears what moves you Hir clothes control hir movements Hir clothes keep hir going Hir clothes go with hir going Its the usual / But how unusual Hir clothes about transparent But they keep hir moving They keep hir going Hir flesh keeps hir going What a fine mess shes made Blue. Says she can listen to this all night long Blue. Says she feels better now thank you very much Play again blue. Says I feel something coming on Blue. Says play again someones coming in Blue. Says she can listen to this all night long Blue. Says she feels better now thank you very much Play again blue. Says I feel something coming on Blue. Says play again someones coming in === < i. i can't decide among these. azure and i wander. we were i. i can't decide among these. azure and i wander. i was < encyclopedia of witchcraft. i try to keep busy. the silence encyclopedia of withcraft. i try to keep busy. the silence < between the pond views. we were on an island in the pond. between the pond views. we were on an island in the park. < and walk out through the bay, when i could no longer walk < i would not be in america. ii. i do not want to do this. < where is the thing that will take us out of america. know and walk down into the bay, when i could no longer walk i would not be in america. ii. i do not want to do this. where is the plane that will take us out of america. know < untoward geography. there is no good thing that favors one untoward geography. there is no purpose that favors one < a singularity. azure and i are doing well, thank you. iv. a singularity. azure and i are doing well, thank you. < nowhere, return from nowhere to nowhere. we will change nowhere, return nowhere to nowhere. we will change < will walk in another direction. another direction is the < same direction. we will wander. i will record everything will walk in another direction. i will record everything < again. we will walk and we will end up, here and now and again. we will walk and we will end up, here, and now and < we will wander, and we will call this 'and such it is.' we will wonder, and we will call this 'and such it is.' +++ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Digimag Journal - Smart Machines for Enhanced Arts
Digimag Journal | Issue 76 | Summer 2017 Smart Machines for Enhanced Arts Out now as free Pdf, Epub, Mobi and Print on Demand http://www.digicult.it/digimag-journal/ With texts by: Memo Akten, Claire Burke, Geoffrey Drake-Brockman, Jerry Galle, Gene Kogan, Robert B. Lisek, Filippo Lorenzin, Andreas Refsgaard, Liu Yuxi, Alessandro Masserdotti Cover courtesy by: Nawa Kohei Curated by: Marco Mancuso and Silvia Bertolotti PDF: http://www.digicult.it/wp-content/uploads/digimag76.pdf EPUB: http://www.digicult.it/wp-content/uploads/digimag76.epub MOBI: http://www.digicult.it/wp-content/uploads/digimag76.mobi ISSUU: https://issuu.com/digicultlibrary/docs/digimag76 PRINT ON DEMAND: https://www.peecho.com/print/en/338175 --- Artificial Intelligence (AI) and Machine Learning (ML) might be considered by many as synonyms, also because they are the buzzwords of this decade. But actually they are not. They both question though, the ability of the machines to perform and complete tasks in a “smart” way, challenging human intelligence and specificity. With machines becoming more and more intelligent, Machine Learning is nowadays not only an interesting and challenging topic, but also a crucial discipline. If initially computing was just a matter of calculations, now it has moved beyond simple “processing” and implies also “learning”. In the age of Big Data and IoT, machines are asked to go beyond pure programming and algorithms procedures, introducing also predictions of data, OCR and semantic analysis, learning from past experiences and adapting to external inputs, reaching out the domain of human productions and processes. As Gene Kogan and Francis Tseng write in their in-development book “Machine Learning for Artists”, we can “pose today to machines a single abstract problem: determine the relationship between our observations or data, and our desired task. This can take the form of a function or model which takes in our observations, and calculates a decision from them. The model is determined from experience, by giving it a set of known pairs of observations and decisions. Once we have the model, we can make predicted outputs””. So, the subject of Machine Learning and Artificial Intelligence methods more in general, are going thusly much further the technology or science fields, impacting also arts, product design, experimental fashion and creativity in general. As ML features can fit with digital arts practices, we're lead to explore the way some AI techniques can be used to enhance human performative gestures and creativity models. How biological systems and machine intelligence can collaborate to create art, and which is the cultural outcome for our society? Which is the new role of creativity in this scenario? How the contemporary will face a future generation of automated artificial artists/designers, able to learn from the creatives themselves, or to have a direct impact on human creativity? Will the anthropocentric vision of the creative process behind the artistic creation, affected by new intelligent Neural Networks? <http://www.digicult.it/digimag> ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Job opening at Purchase College, Purchase, NY
basic parts: disclosure of the University's crime statistics for the past three years; and the availability regarding the University's current campus security policies. Purchase College's Annual Security Report is available at https://www.purchase.edu/offices/nysup/policies/. Pursuant to Executive Order 161, no State entity, as defined by the Executive Order, is permitted to ask, or mandate, in any form, that an applicant for employment provide his or her current compensation, or any prior compensation history, until such time as the applicant is extended a conditional offer of employment with compensation. If such information has been requested from you before such time, please contact the Governor's Office of Employee Relations at (518) 474-6988 or via email at i...@goer.ny.gov. Application Deadline: 10/16/2017 Date to be Filled: 01/02/2018 Job posted at: purchase.edu/hr -- P Thayer, Artist http://pallthayer.dyndns.org _______ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] meander
meander http://www.alansondheim.org/walking03.jpg johnston ri http://www.alansondheim.org/walking06.jpg johnston ri http://www.alansondheim.org/walking07.jpg johnston ri http://www.alansondheim.org/mall03.jpg mall providence ri http://www.alansondheim.org/mall06.jpg apple store pvd http://www.alansondheim.org/mall07.jpg apple store pvd http://www.alansondheim.org/mall23.jpg govern pvd http://www.alansondheim.org/mall27.jpg mall roof vet pvd i. i can't decide among these. azure and i wander. we were warned not to leap off the roof. in johnston we went to a library sale where i found scholem and a dictionary- encyclopedia of witchcraft. i try to keep busy. the silence of the city is deafening. everyone i know is in trouble. i can't decide between the apple store views. i can't decide between the pond views. we were on an island in the pond. you see so many things there. i read marguerite duras. i watch bbc. atomic monsters and violent drives populate dreams. i need to know 1. how to set up ar. 2. how to set up vr. 3. where to get this tech. 4. how to afford it. 5. how to interact with blockchain. 6. how to get out of the country again. 7. how to leave. when we walk we are still in america. america surrounds us. when i look up or down it is still america. it reeks of tyranny. there is america to my left. there is america to my right. when we walk we cannot walk far enough. dear friends how can we walk out of america. there is the bay. i could walk into the bay and walk out through the bay, when i could no longer walk i would not be in america. ii. i do not want to do this. where is the thing that will take us out of america. know that america does not want us. iii. we meander in an untoward geography. there is no good thing that favors one direction over another. this is the analog world in the absence of the jump cut. when i close my eyes i am still here. when i sleep i am still here. all our walks have the form of a jordan curve. all our walks have closure. the sky is in the sky. i borrow from my answers. i burrow from them. the day of atonement is my only day without remorse, a singularity. azure and i are doing well, thank you. iv. tomorrow we will wake up and we will leave our place and we will walk. we will walk down the stairs and out of our building. we will walk in one direction and walk in another. if we walk only in one direction we will return nowhere, return from nowhere to nowhere. we will change direction in the world on the surface of the earth and we will walk in another direction. another direction is the same direction. we will wander. i will record everything and nothing. we will never go where we have never gone again. we will walk and we will end up, here and now and another time, and we will be another one and another time. we will wander, and we will call this 'and such it is.' 'and such it is' is what we will have done. and we will have done, we will have done, for now. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Call for submissions - The 3rd Cranbrook Video Festival : Family
Dear all, The third Cranbrook Video Festival is now open for submissions. For the second successive year the Festival will be held at the Crane Surgery in Cranbrook, and the theme of the festival this year will be 'Family'. Videos on other subjects will be accepted for consideration, but videos about family are particularly welcome. At the surgery we have been running a Wellbeing Project for the last few months, and feedback from patients indicates that the one thing they identify as most important to their wellbeing is family. But families in the modern world are under increasing stress from consumerist values, the struggle to make ends meet, rising divorce rates, homelessness and displacement, and of course the dementia 'tsunami'. For this year's Festival, we'd particularly like to receive videos on the subject of family, whatever your take on that subject may happen to be. Videos should ideally be under 10 minutes in length, but longer work will be considered. The festival will be held at the Crane Surgery in Cranbrook, Kent on Saturday 17/2/18. The deadline for submissions is 30th December. If interested, please contact julian.les...@gmail.com with "Video festival submission" in the subject-line. Edward ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Apologies and URL
Love this! Thanks for sending it Alan :) R On 29/09/17 00:31, Alan Sondheim wrote: http://eyebeam.org/stopwork/resource-for-teachers-library-of-collaborative-methods/ Bad karma sending this out, here's the resource URL - Apologies again, Alan ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I hate blockchain plantoids by O’Khaos - that's probably why they are great
ut with plantoids and the artisans hired by their code to create their offspring. Maybe these offspring will mutate into relational artworks that choreograph decorative humanity into their schemes, multitudes that dance and sway in time to Lananotation representations of block hashes while wishing that they hadn't opposed UBI quite so vehemently. Or perhaps plantoids are simply oases in the contemporary desert of the real, depicting something of the moment we find ourselves in between financial crises. Some of the real plants are in Terra0... On Thu, 28 Sep 2017, at 12:28 PM, Edward Picot wrote: Annie, I love this response! - and I think you've really latched onto something here. 'Being made of code and rules is not the same as having a soul... Plantoid seems to be conservative, reinforcing the characteristics it started with...' There's a real sense of claustrophobia and frustration about some of the Blockchain-based artworks, unquestionably brilliant though they are, in that although they seem to be offering a commentary on the shortcomings and limitations of the Blockchain, they seem at the same time to be binding us to those shortcomings and limitations, freezing us into that world, suggesting that we are all going to be subject to this new version of reality and unable to escape from it. Yes, this stuff is creeping into every aspect of our culture. Yes, we are all going to be touched by it and influenced by it, directed by it, shaped by it, just as we are by capitalism, mass marketing and mass media. But no, it doesn't define us or completely contain us. We can still be human in spite of it. At least I hope we can: and I hope that along with Blockchain art and the like, we can still have an art that celebrates and explores the bits of existence that the Blockchain and the like can't comprehend. Beyond the plantoids there are still real plants. Edward ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour New CD:- LIMIT: http://www.publiceyesore.com/catalog.php?pg=3&pit=138 email archive http://sondheim.rupamsunyata.org/ web http://www.alansondheim.org / cell 718-813-3285 current text http://www.alansondheim.org/uw.txt ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- Co-founder Co-director Furtherfield www.furtherfield.org +44 (0) 77370 02879 Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i Furtherfield is the UK's leading organisation for art shows, labs, & debates around critical questions in art and technology, since 1997 Furtherfield is a Not-for-Profit Company limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Design 4 ACTION! Permaculture Course at Furtherfield for 6 weekends
Design 4 ACTION! Permaculture Course at Furtherfield for 6 weekends https://spiralseed.co.uk/product/design-4-action-2/ Venue: Furtherfield Commons/Lab, Finsbury Park, London Led By: The course will be taught by Graham Burnett (Dip. Perm Des), Claire White (Dip. Perm Des), James Taylor (MSc. Human Ecology) and some great guest teachers. Dates: 6 weekends, October 2017 to March 2018 London’s Permaculture Design Course – Design 4 ACTION (Active Community Transformation In Our Neighbourhoods) is a different kind of permaculture course – positive design for your life, your community and your world by empowering the genius inside all of us! D4A is about regenerative learning, enabling individuals, organisations and communities to come together over six weekends to create empowering solutions to the real world challenges we are all facing in these times of change. Adapted from the Permaculture Association (Britain)’s PDC core curriculum, this is a person-centred, fun, lively and inclusive course, exploring and utilising concepts such as Systems Thinking, Holistic Design, Community Empowerment, ‘Whole Person’ Health, Skill Sharing, Critical Thinking, Appreciative Inquiry, Right Livelihoods and much more. The format is participatory and dynamic using diverse visual, audio and kinesthetic learning methods such as individual and group work, games, problem solving, discussion, observation, field trips, practical activities, lectures and slideshows. This course will be hosted at Furtherfield Commons in Finsbury Park, a new and exciting partnership project at the cutting edges of dynamic cultural change: “We believe that through creative and critical engagement with practices in art and technology people are inspired and enabled to become active co-creators of their cultures and societies.” Marc Garrett Co-Founder, Co-Director and main editor of Furtherfield. Art, technology and social change, since 1996 http://www.furtherfield.org Furtherfield Gallery & Commons in the park Finsbury Park, London N4 2NQhttp://www.furtherfield.org/gallery Currently writing a PhD at Birkbeck University, London https://birkbeck.academia.edu/MarcGarrett Just published: Artists Re:thinking the Blockchain Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner Liverpool Press - http://bit.ly/2x8XlMK Sent with [ProtonMail](https://protonmail.com) Secure Email.___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] no definitions, but the sadness and misery of AR
no definitions, but the sadness and misery of AR
1. http://www.alansondheim.org/cave031.jpg
2. http://www.alansondheim.org/walking52.jpg
3. http://www.alansondheim.org/cave033.jpg
4. http://www.alansondheim.org/walking54.jpg
no definitions found for "reeds", perhaps you mean:
wn: sadness of AR
web1913: Romania? AR?
gazetteer: Mania? R?
jargon: sadness of Reds/AR
foldoc: reds
easton: AR, "'_augmented_' 'reality'"
reed-atlas: reds!
azure) reeds! thumb's cramp fraud distance) self-
consciousness
reeds!
reeds!
reeds reeds!
reeds reeds reeds!
azure) reeds! thumb's cramp fraud distance) self-conscious-
ness reeds! reeds! reeds reeds! reeds reeds reeds! with you!"},
interesting azure) azure) cramp reeds! distance) cramp ness
distance) reeds! ness reeds! reeds! reeds reeds! with reeds
{"scream",
[16:56] Julu Twine: reeds
[16:56] Julu Twine: reeds!
[16:56] Julu Twine: [reads
[16:56] Julu Twine: "the sadness of AR"
[16:56] Julu Twine: reeds
[16:56] Julu Twine: reeds!
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reeds
[16:57] Julu Twine: more reeds!
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reads!\ "the sadness of AR"
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reeds[areeds'reds?' reeds!
[16:57] Julu Twine: reads the sadness of AR
[16:57] Julu Twine: reeds
[16:57] Julu Twine: reeds, and the misery,
[16:57] Julu Twine: reads - "of AR"
[16:57] Julu Twine: reedsar/
[16:57] Julu Twine: reads
[16:57] Julu Twine: reeds
sadness and misery of AR
___
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[NetBehaviour] the universe
the universe the universe has many places so many far apart http://www.alansondheim.org/universe0.png the universe begins to be smart about so many places http://www.alansondheim.org/universe1.png places, the universe says, do you come together http://www.alansondheim.org/universe2.png many sizes stars and black holes peek at one another http://www.alansondheim.org/universe3.png it is time the universe says, something new to happen http://www.alansondheim.org/universe4.png someone looking and listening now, you universe, hello http://www.alansondheim.org/universe5.png now you stars, the universe says, everyone is going http://www.alansondheim.org/universe6.png the stars are so smart, no one listens, goodbye http://www.alansondheim.org/universe7.png so many places and stars and holes, the universe says http://www.alansondheim.org/universe8.png so much and many happening, so many peeking here and there http://www.alansondheim.org/universe9.png it is time, the universe says, nothing now to happen ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
