Rob Myers
Since 2003
Works in United States of America

PORTFOLIO (5)
BIO
Rob Myers is an artist and hacker based in the UK.

I have been creating images of the contemporary social and cultural environment through programming, design software and visual remixing since the early 1990s. My work is influenced by popular culture and high art in equal measures. My interest in remixing and sampling has led to my involvement in the Free Culture movement. I have been involved in the public consultation regarding the Creative Commons 2.0 and CC-UK licenses. All my visual art is available under a Creative Commons license.

My interest in programming has led to my involvement with the Free Software movement. I developed the Macintosh version of the Gwydion Dylan programming language compiler. All my software is available under the GNU GPL.
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DISCUSSION

DISCUSSION

Neuromancer


Essay of 3Jane's," the Finn said, producing his Partagas. "Wrote that when she was twelve. Semiotics course." ...
"By the standards of the archipelago," the head continued, "ours is an old family, the convolutions of our home reflecting that age. But reflecting something else as well. The semiotics of the Villa bespeak a turning in, a denial of the bright void beyond the hull." ...
"That's all she wrote," the Finn said. "Didn't finish it."

[...]

There had been a room filled with shelves of books, a million flat leaves of yellowing paper pressed between bindings of cloth or leather, the shelves marked at intervals by labels that followed a code of letters and numbers; a crowded gallery where Case had stared, through Molly's incurious eyes, at a shattered, dust-stenciled sheet of glass, a thing labeled — her gaze had tracked the brass plaque automatically — "La mariée mise à nu par ses célibataires, même." She'd reached out and touched this, her artificial nails clicking against the Lexan sandwich protecting the broken glass.

DISCUSSION

DISCUSSION

epic net art


I agree with Caitlin that:

The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan.

I was trying to make and open up a similar point here:

http://rhizome.org/discuss/view/37731

But I agree with Paddy that Caitlin is much clearer. :-)

The question I'd ask is whether saying "Internet art responds to the web" implies technological or social determinism. I don't think that it does, at least no more than for any other kind of art, but I think that some attempts to differentiate old and new net art that fail to account for the continuities that Caitlin identifies will have problems avoiding it.

And given the example of Olia's essay I'd say that the similarities between old and new net art extend to its criticism. Semiotics was big in cyberculture and cyberfeminism and if it's being applied to Web 2.0 culture and art then I think that is another continuity.

DISCUSSION

epic net art


One thing that epics often have is a foundational character: they are part of the mythology of a nation or culture. Are UNIX or GNU or Google epics? Which culture could net.art be part of the foundation of?