curt cloninger
Since the beginning
Works in Canton, North Carolina United States of America

PORTFOLIO (7)
BIO
Curt Cloninger is an artist, writer, and Assistant Professor of New Media at the University of North Carolina Asheville (US). His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. By layering, restructuring, hashing, eroding, exhausting, and (dis)splaying language, he causes language to perform itself until its "meaning" has less to do with what it denotes and more to do with how it behaves. His work has been featured in the New York Times and at festivals and galleries from Korea to Brazil. Exhibition venues include Digital Art Museum [DAM] Berlin, L'Instituto de México à Paris, Living Arts of Tulsa, and The Art Gallery of Knoxville.

Cloninger has written on a wide range of topics, including new media and internet art, installation and performance art, experimental graphic design, popular music, network culture, and continental philosophy. His articles have appeared in Intelligent Agent, Mute, Paste, Tekka, Rhizome Digest, A List Apart, and on ABC World News. He is also the author of seven books, most recently "Fresher Styles for Web Designers" (New Riders). He maintains lab404.com, playdamage.org , and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder.
Discussions (1121) Opportunities (4) Events (17) Jobs (0)
DISCUSSION

Re: chinese musak always sets me free


fair enough, Mike.

i've never doubted y'all's levity. i'm just musing on the
discrepancy between your actual net worth and your perceived net
worth.

or is it all good in the hood? maybe it's all good.

play on,
curt "i'm the king of rock; there is none higher / sucka MCs all call
me 'sire' / to burn my kingdom you must use fire / i won't stop
rockin' till i retire" cloninger: Absolver of Mediocrity

At 5:51 PM +0200 8/2/02, .pavu.com wrote:
>hi curt and rhizome fannes
>
> > Should we be studying the Flaming Lips instead of studying Karlheinz
> > Stockhausen? Should we be reading Steely Dan instead of reading Alan
> > Ginsberg?
>
>no need.
>just perform ducks inflating and horns heating
>
>and for all who missed it, here's the web part:
>http://www.nextroute.com/PINE/PINE_Concert.html
>internet explorer5, quicktime5 + audio etc
>
>gurMuru Tur Fugu pics+movies : http://canal-bleu.modukit.com/post.html
>
>
> >Might http://www.trueistrue.com be more important than
> > http://www.pavu.com ?
> > Are we missing the true "melody" of the art?
> >
>
>true or false ? Just ask gurMuru SurdMan :
>http://canal-bleu.modukit.com/biker-pine.mov
>
>
>wishing you the best always
>
>Mike Platoni / pavu.com Team
>http://pavu.com
>-/ we know you're rockers but we are rockers2 /-

DISCUSSION

Re: chinese musak always sets me free


> > play on,
> > curt "i'm the king of rock; there is none higher / sucka MCs all call
> > me 'sire' / to burn my kingdom you must use fire / i won't stop
> > rockin' till i retire" cloninger: Absolver of Mediocrity
> >
> >
>
>great! we shall welcome this extra CC song on our upcoming PINE cd

mind you're copyrights. it's not me. it's Run DMC.

DISCUSSION

dem bones


Because they have the function of collecting and preserving the
artworks, the art museums today often looks like historical
collections of media technologies of the previous decades. Thus one
may mistake a contemporary art museum for a museum of obsolete
technology. Today, while outside one finds LCD and PDA, data
projectors and DV cameras, inside a museum we may expect to find
slide projectors, 16 mm film equipment, 3/4-inch video decks."
- lev manovich

"we are living in a material world, and i am a material girl."
- cyndi lauper

"Before a local gallery will even consider displaying my net art
work, i first have to screen-capture some stills of my animated
website, print these digital stills out on a color printer, take
photographs of the color prints, develop the photographs as slides,
and send the slides to the gallery via snail mail."
- dj jazzy jeff and the artist formerly known as fresh prince

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DISCUSSION

Re: dem bones


>I believe you are thinking of Huey Lewis.

That's true, but then i'm always thinking of Huey Lewis. There is a
perpetual sub-routine in my brain constantly trying to discover any
salient differences between the musics of Huey Lewis and Hall & Oats.
So far, no luck.
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DISCUSSION

chinese musak always sets me free


Last night the fam and I ate at a Chinese restaurant, and as usual, I
was unable to keep from concentrating in minute detail on the
background music, however insipid. This particular Chinese
restaurant was playing a real whopper of a soundtrack. It started
out as Top 40 songs circa 1982 played in that pseudo-Asian musak pop
style -- cheesy drum machine beats, and that twangy "doing doing
doing" stringed instrument replacing the vocal melody. Michael
Jackson and Paul McCartney's "The Girl is Mine," Willie Nelson's
"Always on My Mind," -- it was as if the producers of the musak
simply taped a random hour of any US Top 40 radio station in the
early 80's and used that as their set list.

Then the musak got weirder. It entered an extended medley phase.
The medley began with Jennifer Warnes' "I Know a Heartache When I See
One," but then it proceeded into a fairly accurate version of
Santana's "Oye Como Va," followed by The Ventures' "Walk Don't Run,"
followed by some Western movie theme song like "Hang 'Em High."
Although the medley was totally non-sensical genre-wise (pop to
calypso to surf music to TV cowboy soundtrack music), it hung
together perfectly melody-wise. And since the music was all
re-recorded in the same Chinese musak style, the differences in genre
were no longer audibly apparent.

Here was a medley compiled by someone listening to pure melody
outside of any historical or cultural context, and she had found true
melodic connections that no American music critic would have
discerned. American music critics are programmed to recognize subtle
genre differences based on production value, tempo, instrumentation,
and historical context. But as I listened to that Chinese musak
medley, what I literally heard fit together perfectly. The only
cognitive dissonance I experienced was based on my own personal
historical knowledge of each tune. My wife (sheltered from the radio
growing up, for better or worse) experienced no such dissonance.

All this got me thinking about the wack-wack-wacky world of
contemporary art criticism. Do we accept certain art because of the
way it's presented, its production value, the genre-awareness of its
accompanying statement, its context? Do we dismiss other work as
non-art because it doesn't jump through our expected art hoops?

Should we be studying the Flaming Lips instead of studying Karlheinz
Stockhausen? Should we be reading Steely Dan instead of reading Alan
Ginsberg? Might http://www.trueistrue.com be more important than
http://www.pavu.com ?

Are we missing the true "melody" of the art?

http://www.steelydan.com/lyraja.html#track2

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