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<nettime> power of the line
natalie bookchin on Sat, 18 Sep 1999 05:17:46 +0200 (CEST)


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<nettime> power of the line


Post-modem* cybercultures have generated powerful new tools and spaces for
artists (and others) to work, play and gather.  These new sites have
foregrounded communication over representation, collaboration,
impermanence, immediacy and performance over traditional object making and
offer a range of alternative models of production, from hacking, to
software and hardware production and deconstruction, to gaming, pranking
and spamming.  When information is (material) currency, and its
distribution is horizontal rather than vertical,artists have more control
over channels of communication, distribution and promotion of their own
work and can, in some ways be equal to a corporation or an institution. 
In the seminar, we will discuss the problems, politics and possibilities
of these new net spaces. In the studio class, we will do something about
it.  

________________________________ http://calarts.edu/~line

Modern Culture has generated limited and problematic digital tools and
pseudo-spaces for artists (and others) to slave, prank, and convene. These
attempts have priveleged simulation and representation over in-the-flesh,
sensory experiences. What seems to attract many artists is the ease with
which active and reactive positions-in the way of texts, emails, artworks
that refer to or play with existing entities-can be implemented, creating
a constant and constantly changing environment for art-making. There exist
greater instances of redundancy (due to the endless replication possible
with digital tools) and greater possibilities for permanence (in the way
of sophisticated hardware and software for archiving). When information is
(material)  currency, and its distribution is vertical rather than
horizontal, artists have no greater control over channels of
communication. But the possibilities for distribution and promotion of
their work is expanded. As always, however, they cannot approach the
audience and scope afforded a corporation and their ability to fund the
research and implementation of the most advanced forms of media
technologies, including more powerful servers, greater bandwidth, and
hardware and software that circumvents the usually slow and limited
response of the systems most used today.  -paraphrased by naomi

post-modern Shit has generated limited and problematic tools and lame
galleries for artists (and others) to solve, punk, and blowup. I would
rather show my artwork(?)  in a mcdonalds. the only audience being french
fries that are too salty. These attempts have priveleged television and
communication over >n-the-face, sensory experiences. What seems to attract
many posers is the ease with which active and reactive positions-in the
way of texts, >emails, artworks that refer to or play with existing
entities-can be implemented, creating a constant and constantly changing
environment for art-making. There exist greater instances of redundancy
(due to the >endless reproduction (sexual organs) possible with digital
tools) and >greater possibilities for permanence (in the way of
sophisticated hardware and software for archiving). i am a poser.  When
information is (blood) currency, and its distribution is verso rather than
recto, artists have no greater control over channels of >communication.
But the possibilities for distribution and promotion of their work is
expanded. As always, however, they cannot approach the audience and scope
afforded a corporation and their ability to fund the >research and
implementation of the most advanced forms of media >technologies,
including more powerful servers, greater bandwidth, and >hardware and
software that circumvents the usually slow and limited >response of the
systems most used today. -paraphrased by naomi -paraphrased by boring_art. 


vuk cosic's nice term

-----
ntntnt


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