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Re: <nettime> Re: [0100101110110101.ORG] FOR SALE
John Berndt on Thu, 30 Oct 2003 02:03:14 +0100 (CET)


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Re: <nettime> Re: [0100101110110101.ORG] FOR SALE



<nuria_oliv {AT} hotmail.com> wrote:

> This news is very funny... but fake!

In addition, it is blatant plagiarism of a leaflet I co-authored in 1989
as a member the Art Strike Action Committee East Coast USA, as a
comparison of the two texts shows:

["01" text posted to Nettime]:

01> 0100101110110101.org as it had previously operated from this URL
01> will cease to exist as soon as the domain will have been sold, and
01> will stop its public interventions over artistic politics. The
01> E-Mail addresses of 0100101110110101.org will be open to any use of
01> their future owners.  People contacting us personally will receive a
01> copy of this text.


[ASAC text from 1989:]

AS> The Art Strike Action Committee which operated from this P.O. Box
AS> has ceased to "exist" with the beginning of the strike and will
AS> suspend its actions of public agitation and debate over "political"
AS> and "cultural" questions. The P.O. Box will remain open and revert
AS> to use by its former owners who will mail one copy of this text and
AS> one Art Strike flyer to anyone who writes concerning the Art Strike.


...and finally:

01> With its interventions, 0100101110110101.org aimed to make
01> institutions less solid and tenable, and demoralize people
01> who would otherwise fail to have their beliefs called into
01> question. On all these counts, 0100101110110101.org considers its
01> past work a success. On the other hand, there has been a momentum,
01> internal and external, to assimilate 0100101110110101.org into the
01> production logic of the art system. By ultimately selling out,
01> 0100101110110101.org will both affirm and end this status quo.

AS> The primary functions of the Art Strike, as formulated by the
AS> various groups involved, were to increase the presence of critical
AS> political attitudes in certain sections of the political and art
AS> communities, make the cynical positions of certain careerist hacks
AS> less tenable, and to demoralize any naive "artists" who might
AS> otherwise go their entire lives without having the content of their
AS> religious/ruling class attitudes called into question. On all these
AS> counts, the pre-strike response has shown hilarious success. On the
AS> other hand, there has been an unfortunate momentum, internal and
AS> external, to mystify the strike by comparisons with other cultural
AS> events (of course, in a certain sense the strike is a "cultural
AS> event", albeit one which reverses the values put forth by nearly all
AS> other "culture"). The most typical formation is to see the Strike's
AS> primary organizers as "Artists" for whom the public strike is a
AS> "conceptual art piece".

John Berndt


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