Re: [Nettime-bold] Re: <nettime> Discordia Concors: www.jodi.org

[{ brad brace } <bbrace@eskimo.com>]

This juncture has again returned it seems... If there is a
chance-of-net-art it would simply be the means for
individual artists to distribute their work directly without
institutionalized (economic and ideological), self-serving
manipulations.


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{ brad brace }   <<<<< bbrace@eskimo.com >>>>  ~finger for pgp













On Tue, 5 Nov 2002, Bill Spornitz wrote:

> .. or it's: if jodi.org is more a-part of the art... better:
> manufacturing perfect Brittany Spears cd replicas, ( actually iso9660
> images of jodi.org, natch), then leaving them on public transit...
> people will take them home and put them in their cd players ;-> or
> the few un/fortunates that put them in their computers will encounter
> a program which automagically installs jodi.org as your *My
> Documents* tree structure, or adds a desktop shortcut that can't be
> removed <- that's always a good one... <- not that I'm condoning this
> behaviour...
>
>
> b
>
>
>
> >The 'classic' art references here don't seem to jive? I wonder if much of
> >the anxiety in the criticism is unresolved fear of _not_ being canonized,
> >hence the frequent, forced recourse to Cage, Fluxus, mail art, Arp. It's
> >like October magazine were pretending it was the cutting edge of
> >techno-criticism! I mean, why is chance hauled out over and over? Is Cage
> >really the alpha and omega of 21st-century art?
> >
> >The criticism doesn't recognize on the one hand that net art represents a
> >great rupture with most 20th-c art in terms of distribution, content,
> >technology, language, accessibility, politics, and on the other a
> >continuity with forms of bureaucracy becoming entrenched in the art world
> >in the late 20th-c in terms of collective production, the levelling and
> >academicization of discourse, the blurring of critic/artist/curators'
> >roles, the speed of response times. So if criticism is to address
> >something like jodi it should probably do better in its analysis of
> >artworld politics and positioning, just at it should try to address the
> >phenomenology and structures of all levels of the machines and languages
> >at issue here. The problem with jodi is that it casts its innumerable
> >ghosts in the machine under the aegis of art -- there's always an escape
> >hatch from the real, into where the art takes place. So there lies the
> >continuity with the museum pieces of the 60s, but the intellectual
> >heritage isn't there -- it's rather in the deep structures of the
> >machines, the internet itself.
> >
> >Ryan
> >
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