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INFOWAR: 3 responses
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ARS ELECTRONICA FESTIVAL 98
INFOWAR. information.macht.krieg
Linz, Austria, september 07 - 12
http://www.aec.at/infowar
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Date sent: Sun, 10 May 1998 19:46:25 +0200
From: valery grancher <vgranger@imaginet.fr>
To: infowar@aec.at
Subject: Re: INFOWAR: information and art
Hello,
It is really funny to see this kind of comment..... also from
somebody who's
participating at a Ars Electronica Forum (a well known institution who
gets her money from major media company as ORF...)
hereafter my comment:
> Tina LaPorta wrote:
>
> >>Art is based on imagination (coupled with style)<<
>
> Valery Grancher wrote:
>
> >>Art is a cultural phenomenon and we have to keep in mind that
> occidental art<<
>
> Art is - above all - a cultural articulation of a technology,
What kind of technology when you see mural art in caverns? What kind of
technology when you see Arborigen australian tribes with their paintings?
What kind of technology when you see tibet monk with mandala? What kind of
technology when you see tribes trans ? What kind of technology in
philosophia? (it is also a cultural phenomenon) What kind of technology
in my mind when I'm conceiving my concepts for my artwork? Etc...
> and style is
> barely an indicator.
Style is just a word, some ethnics identities don't know this concept
> Well, nothing happened really. Unless that is again an issue about
> which one is more real - the actual or the virtual. (About a year
> ago one of my highly useless papers dealing with art of the late
> XVIIIth century was basically rejected by a (now) 519 university (in
> a (most probably democratic) EU-country) because its department
> found usage of the images downloaded from Internet (the only
> available colour reproductions to date) and some quoted materials
> from electronic journals simply and plainly sacrilege-like.) It
> looks like those elitist places are becoming generators of
> "bringing-coal-to-Newcastle" - so inability to adapt and accept
> changes leads to the confusion of content and noise.
OK, it is an individual case, and it isn't mine ... You can't get a
constation on a global level from this case....98 % of people are not
writers, artists, curators and are not from the art world. They are also
producing art phenomenon from their own language, identity and
memory....they are generating and interacting with cultural phenomenon and
other social groups ...
> To maintain hermeticism of (any) highly pretentious intellectual
> space(s) engaging mostly in satisfaction of its own problems is not
> really necessary, although for many belonging to such a space might
> be not just comfortable, but also vital. On the other hand, people
> sharing certain similarities are wanting to have a gathering place.
> But again - to do what in it? The ability of conducting a
> conversation or an oral discussion is becoming more and more seldom
> found ability since it is being replaced by communication(s) that,
> in the end of the day, serves the ultimate goal of getting through
> with one's own notions and opinions in order to prove his/her own
> superiority and coolness?
it is true for our occidental context but not in a global human
context. more than 80 % of people on the world are not interacting
with communication context... more specially with internet.... What is
infowar in this case ?
> And when each member of a designated crowd (of those
> artists/self-proclaimed and/or institutionally approved
> intellectuals/writers/etc.) follows this principle religiously, then
> it results in noise and disturbance.
very funny...... you are also producing noise as all of us are
doing.....
> And from -j again:
>
> >>How do you see art magazines and similar media fitting into
> >>this-the stuff
> that straddles scholarship and advertising? Especially with salable
> media like painting...<<
>
> Do they really? An art critic goes on about her first class flights,
> receptions in Europe,
I would like to know some of them to get some fun .... I'm living in
Paris, do you have some infos about this town ?
Best regards,
N.B: some jokes, it is becoming to serious and sad....
Valery Grancher
vgranger@imaginet.fr
http://www.imaginet.fr/nomemory
http://wintermute.aec.at/nomemory
http://www.fondation.cartier.fr (virtual gallery)
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From: JosephaH <JosephaH@aol.com>
Date sent: Mon, 11 May 1998 09:45:17 EDT
To: infowar@aec.at
Subject: INFOWAR: information and content in art
I just read in a contribution from (kildsig@vip.cybercity.dk) that
"Tina LaPorta wrote:
>>Art is based on imagination (coupled with style)<<" etc.
Oh? I thought I had written that, as in "Art is based on imagination
(coupled with style) therefore it transforms apparent content or apparent
information and serves first and foremost as a personal expression cloaked
in, hopefully, some aesthetic value... etc."
Tina quoted that in her message of Sat 5/9 11 a.m., or rather, she
replied to it in sections.
Her own last comment was:
"Aesthetics function to draw you into the work.... aethetics and
content are two different, although converging, entities."
To this I'd like to reply that this is usually true though a strong, near
total convergence can take place when the aesthetics become the content,
as in non-objective art, as with Constructivism, De Stijl, etc. where
purely artistic concepts of the dynamics and effects of color and form are
explored for their own sake (and effect).
In my own work I usually avoid any content but that of the qualities of
the image (its graphic dynamics, composition etc.) itself. If I do use
content (as I have only recently, in animations submitted to the PrixArs)
that content, however powerful, must be subjugated, abstracted, to serve
the form of the graphic expression.
It is very rare for my art to have content that is 'a message' that refers
to something outside the art itself. Any messages nestled in the crevices
of my mind have thusfar escaped getting nailed to the canvas. But digital
collaging/animation has lately opened up a new avenue for me where I can
abstract recognizable content to serve as active graphic elements that
derive their 'meaning' solely from juxtaposition, which is what stages the
context.
In 1981, when I discovered personal omputers, I foresaw a new age for art:
dynamic art. It has already taken 18 years of working with these new
tools, contantly exploring a variety of avenues and applications.
Becoming a CD ROM developer in 1990 coalesced into a new jumping-off
point. Stringing together (sequencing) photographs for viewing and working
with ever more dynamic presentation tools led eventually to a full
multimedia experience.
But that's another story. There's more about this on my website:
www.illuminated.com/JH_ArtArchive/ and soon there will be more about the
aesthetics of still and motion digital photography on my new site: www.
ImageCircle.org
Perhaps this background clarifies some of the points of view I have
expressed here. I'll be taking a break from this dialogue for a while,
though I'll try to continue someof the one-on-one correspondence as time
permits. Keep on probing the future!
Josepha Haveman
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Date sent: Mon, 11 May 1998 13:02:31 +0200
To: infowar@aec.at
From: md3169@mclink.it (Lorenzo Taiuti)
Subject: Infowar
I am myself doubtful about the division between "art on the net" and
"net activism" that is circulating. But certainly we have to start
from practical and certain things. If the situation of "freedom" that
is been peculiar to the first period of the Net is now ending let's
start from those points that define the new area. I would say: 1) Bill
Gates 2) Advertising 3) Television on the Net And i would put as well
the new and growing need from the artists to obtain a kind of payment
on their works. That is right but it means of course defining a
"market". Paul garrin is been doing an interesting job with is
name/domain against the monopoly of net domaine. Who can give us other
points and useful elements to move the discussion on what i consider
the main points of the "Infowar"?
Lorenzo Taiuti
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