nice round-up Sal :-)
On 2/8/06, Sal Randolph <email@example.com
> Some interesting things that came up during the panel:
> -- Outsider Imagery -- The widespread influence of what one of the
> artist's (Michael Bell-Smith) called 'internet folk art' -- animated
> gifs, avatars, personal blogs, home pages, mashups, game sprites,
> etc. All of the individual quirky production of gazillions of
> internet users. If you include webcams in that list, then all of the
> artists on the panel used some of these elements and aesthetics.
> -- Nostalgia -- Caitlin Jones brought up the question of whether most
> of the work had an aspect of nostalgia for earlier (more utopian?)
> technological times (sometimes just a few years ago) -- all the
> artists resisted this idea, saying pretty much that it was just too
> hard to keep up with the absolute now of the internet, and that using
> aesthetic elements which were a few years in the past was just a side
> effect of this. Despite that, once the idea of nostalgia was in the
> air, it was hard to dismiss.
> -- The Sublime -- interestingly the Sublime was somehow connected
> (during the discussion) with being in a gallery (as opposed to being
> online -- is that the mundane?) -- And as MTAA mentioned on their
> blog post ( http://www.mteww.com/mtaaRR/news/mriver/
> rhz_field_trip.html ) there was an amazing mashup on the projector
> for a good long time with the wikipedia entry for the sublime
> interrupted by manic (and gorgeous) jodi.org
black and white pop-up
> windows. Sublime indeed. Other candidates for the sublime were
> Marisa Olson's & Abe Linkoln's universal acid videos (which you can
> see at http://www.universalacid.net/
) , Michael Bell-Smith's video
> Continue (not online, but there's a still at http://
) and Cory Archangel's
> classic Super Mario Clouds.
> -- Memes -- on the internets, no one can hear you unless you meme.
> Cory Archangel brought up the need for his online work to be meme-
> able, and also the idea that he keeps his internet work what he
> called 'fey' -- meaning that it has to function in the non-art
> context of someone running across it while at work etc. where it's
> "just a website". Internet artworks have to survive without the
> hushed chapel of the gallery, competing with all the other
> information & detritus, and amusement online. One of the strategies
> internet artworks use as a survival tool is to be meme-able.
> -- The Game -- to roughly quote Michael Connor "The last thing you
> want to tell somebody is that the Superbowl is just a game -- 'turn
> that off, it's just a game'. Art isn't just a game. It's a
> *game*." Meaning that the fact the art world is a play space, and
> that art is a kind of game doesn't make it any less serious, if
> anything it makes it more serious. I believe he used the word
> 'transcendent'. There's that sublime again.
> -- 2.0 -- No one on the panel really thought we were at a 2.0 moment,
> but I wonder if we might be without knowing it. To me the
> interesting element of what's usually called web 2.0 is the shift
> from websites as spaces of presentation towards websites as genuinely
> social spaces. Most of the panelists worked in the (very extended)
> tradition of video, so we didn't really see the other side of net
> art, the really networked, collaborative end of things which is a
> much a part of net art as what might be visible on a screen.
> > On 2/8/06, Lee Wells <firstname.lastname@example.org
> >> Curious to hear what people thought about the Panel at EAI on Monday?
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