Hi Simon,
Totally agree. For some years, I´ve asked myself the same questions and got
some answers.
*
How can you know the value of something that doesn’t exist yet? *You
simply cannot. That certainty leads me to draw the most bizarre estimates,
specially knowing what the grant wallahs in
It's an interesting point Paul. In the UK we have funded arts research
through the AHRC.
I don't believe that academic research does greatly compromise
creativity or art making. Certainly not in my experience and I've
received a couple of AHRC grants. In fact this money has enabled me to
I don¹t think the problem is with art and other disciplines getting
together. Nor do I think it is with research. There is nothing intrinsically
at fault with any of these activities or how they can be undertaken in
various combinations. They can be hugely beneficial to one another. If you
are
These are of course all valid points and I would say that at the very
tip of things, one of the biggest choices an artist makes is whether
to operate within academia or outside of it. Then there are choices to
make within those two realms as well. I, for instance, have (for now
at least) chosen to
Hi james
This is very nice. How did you make it? Was it generated through code?
And what were your ideas?
all the best, dave
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gotta be quick, got some exciting factory work to labour in this
afternoon. I started replying to a certain thread went off on a tangent
about how i work and my ideas, felt i was not ready to say such things
in public, felt i had not said them well anyway, unclarified, possibly
not talking about
http://netart.org.uy/vintage/smileys/
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It wouldn¹t seem wise to accept any position which didn¹t function to enable
your artistic work. Luckily my job doesn¹t just pay the bills but enables my
creative work directly, with equipment, space, skilled collaborators and a
critical but supportive discursive environment. I feel I am part of a
Sorry for any crosspostings
Digicult presents:
DIGIMAG 45 / JUNE 2009
http://www.digicult.it/digimag_eng/index.asp
You can read all the past articles and issues in the Archive section here:
http://www.digicult.it/en/Archive/
. . . . . . . . . . . . . . . . . . . . . . .
I don't like the
Scenario 6: fake or feint.
im Berlin Carré
Space 47a, 50, 52
Karl-Liebknecht-Str. 13
10178 Berlin
Contact: Joerg Franzbecker
off...@fakeorfeint.org
www.fakeorfeint.org
The final scenario of the fake or feint exhibition series deals with
issues of visibility and identity, media strategies and
Well, i think it will be a bit difficult for me to explain my point of
view in english... but let's try...
At a certain level, this question is about paradigms. Scientific
research is based on some rules, including the ability to reproduce
previous obtained and published results. So it is
Dying
The worst part about dying is the absolute, eternal, perfect lack of
trope or symptom; whatever occurs is lost to subjectivity forever - as is
the maelstrom itself. The simplest occurrence - a record set at a tennis
match or a summer storm - is characterized by an inconceivable disappear-
http://lightsinthenight.blogspot.com/2009/05/bamboo-hustlers-of-life-never-survive.html
On Fri, Jun 26, 2009 at 10:40 PM, Alan Sondheimsondh...@panix.com wrote:
Dying
The worst part about dying is the absolute, eternal, perfect lack of
trope or symptom; whatever occurs is lost to
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