Sal Randolph
Since the beginning
Works in Brooklyn, New York United States of America

Sal Randolph lives in New York and makes art involving gift economies, social interactions, public spaces and publishing, including Opsound, an open exchange of copyleft music, the Free Biennial and Free Manifesta, a pair of open, internet-mediated "biennials," Free Words, a book infiltrated into bookstores and libraries, and Money Actions, an ongoing series of interventions in which she has given away several thousand dollars to members of the public. She is currently investigating games, recipes, algorithms, codes, and texts.
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Re: Re: Re: Fwd: Wappening #2

I might argue it differently: the community that lee put into motion
with his piece is an internet community. As we all experience daily,
the internet cultivates its own flavors of community, different from
the communities that grow up around books, mail correspondence,
telephone, or fax. Each of these has its own style, scale,
subculture, speed, effectiveness, etc. Most of us move fluidly
through many of these communication communities. It seems to me that
art which makes use of the communities particular to the internet is
as much "internet art" as art which makes use of the algorithmic
capacities of computers connected to the internet.

On Feb 10, 2006, at 6:21 PM, Lee Wells wrote:

> Not to be devils advocate but in this case, isn't the internet/
> email/blog
> just another vehicle for the dissemination and archive of the
> information
> for the performance/happening. Technology now provides us with a
> quicker way
> to get that info out there but is it much different than using the
> fax,
> phone or mail to alert the select public about the act.


Re: Fwd: Wappening #2

I actually liked Lee's term for it just fine: web happening

On Feb 10, 2006, at 1:51 PM, Marisa Olson wrote:

> Hmmm.... I think the term "net.flux" (aside from using the ill-fated
> middle-dot--very 1.0:) also requires "'special' knowledge some contend
> one needs to appreciate some forms of contemporary art," in order to
> be appreciated.
> What's wrong with "net performance"? To me, that's what this is & what
> MTAA has done, in same/different ways. It's open & clear. And I love
> that it points out the fact that the internet can be used in online &
> offline performance...
>> Also we need to coin a phrase for this type of work (MTAA has also
>> made work along these lines): net.flux anybody?


Re: Fwd: Wappening #2

I'm getting ready to head over there, but is anybody closer? It
would take me 45 min or so to get there.

On Feb 10, 2006, at 12:34 PM, Marisa Olson wrote:

> These are some of Lee Walton's best projects...
> Will someone in NY please get to the 23rd street NRW & give this dude
> an orange? :)
> ---------- Forwarded message ----------
> From: Lee Walton <>
> Date: Feb 10, 2006 9:15 AM
> Greetings,
> At this very moment Rob Bohn is standing on a corner in NYC and
> desperately
> needs your help.
> Utilize your vast networks and resources. He is depending on you...
> +
> -> post:
> -> questions:
> -> subscribe/unsubscribe:
> subscribe.rhiz
> -> give:
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at
> 29.php


Re: Net Aesthetics 2.0 Panel

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 (
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) 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 ) , 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 <> wrote:
>> Curious to hear what people thought about the Panel at EAI on Monday?


reading between on glowlab

reading between, an internet based project exploring what it means to
read together, is featured (along with lots of other interesting
projects) in the new issue of Glowlab ( ). Anyone
is invited to join the project by receiving a free copy of the most
interesting book I read in the last year.


(1) We Are Reading

We begin with almost nothing, just the act of reading.

Over the next few months, as part of a show with no artworks, "Les
formes du delai", at La Box gallery in Bourges, France I'll be
thinking through the act of reading as an artistic source. Gradually,
the website will develop as a space for exploring
what it might mean to read together, a place to share and exchange
what we are reading.

I'll begin with an invitation. The most interesting and pleasurable
book I've read over the last year is David Graeber's Toward an
Anthropological Theory of Value: The False Coin of our own Dreams.
David Graeber is a brilliant anthropologist, also an anarchist and
activist, and his book is one of those where 100 ideas spin off every
page. It includes lucid critiques of postmodernism, discussion of
gift economies, a really interesting perspective on Marx (which
caused me to spend the summer reading Das Kapital), a theory of
social creativity, and countless lively anthropological examples. I'm
still mulling over a small aside he made on the meaning of men's and
women's fashion.

I'd like to invite you to read some David Graeber with me. I'll send
a free copy of the book to anyone who wants one -- just email to me
with your postal address: sal [at] readingbetween [dot] org



sal randolph