Geert Dekkers
Since 2002
Works in United States of America

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DISCUSSION

nznl.com digest, Jun 01, 2007 - Jun 07, 2007


nznl.com digest
Jun 01, 2007 - Jun 07, 2007
Posts 1819 - 1825

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1819. Jun 01, 2007
STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
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http://nznl.com/index.php?dag 070601

1820. Jun 02, 2007
SOME TALK SOME DO, 2011, STUDY FOR A SHORT PIECE ON CONCEPTUAL ART
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http://nznl.com/index.php?dag 070602

1821. Jun 03, 2007
STUDY FOR A TALK ON A PERFECT SURFACE, 2011, SOME WORDS ON THE ABSTRACT
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http://nznl.com/index.php?dag 070603

1822. Jun 04, 2007
STUDY FOR SOME COHERENCE, 2011, SOME WORDS ON THE ABSTRACT
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http://nznl.com/index.php?dag 070604

1823. Jun 05, 2007
INTERLUDE, 2011, INTERLUDE
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http://nznl.com/index.php?dag 070605

1824. Jun 06, 2007
INTERLUDE, 2011, INTERLUDE
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http://nznl.com/index.php?dag 070606

1825. Jun 07, 2007
UNTITLED STUDY, 2011, PERFORMANCE FOR A FIRST PERSON VIEW
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http://nznl.com/index.php?dag 070607

Geert Dekkers---------------------------
http://nznl.com | http://nznl.org | http://nznl.net
---------------------------------------

DISCUSSION

Re: it's meme-tastic!


Hi Curt

Thanks for this.

Actually I think that nowadays most art is spectacular in nature.
Most artists find out quickly though that the art of the spectacular
is impossibly hard to master -- if such an art can be aquired at all.

I was wondering if you yourself are practising these methods -- for
example the google adwords idea, which I like. In fact I've been
looking into adsense and adwords myself of late.

Geert Dekkers---------------------------
http://nznl.com | http://nznl.net | http://nznl.org
---------------------------------------

On 4-jun-2007, at 4:34, Curt Cloninger wrote:

> Hi all,
>
> Here are some thoughts about net art distribution and the ways in
> which it influences net art as a genre.
>
> With conceptual art and institutional critique, the 'narrative' of
> the concept (including how it positioned itself in relation to
> previous movements or contemporary instituions) was always a big
> part of the art. Like with Hans Haacke's institutional critique in
> the early 70s, some of those pieces didn't ever show in museums
> because they were banned, but the story of the why they were banned
> became the crux of the art. So too, with early net art in the
> mid-90s, a lot of the work was necessarily conceptual because of
> bandwidth limitations. A concept could be conveyed via low
> bandwidth text, and via foregrounding some infrastructure or
> function of the network that was already in place. Selling
> immaterial things on ebay or buying certain adwords on google --
> these are low bandwidth, low 'aesthetic' moves; high concept moves.
>
> With conceptual art and institutional critique of the 70s, those
> pieces had to play off and against galleries and museums in the
> brick and mortar art world. Even if the pieces ultimately went out
> into the street (Daniel Buren) or became site-specific earthworks
> (Robert Smithson), they were always in dialogue with the gallery
> world and with immediate art history. So the 'distribution
> mechanism' of the 'narrative' of these pieces was still via
> physical gallery spaces or para-gallery publications (Artforum or
> whatever). If some unknown outsider earthwork artist simply went
> into her backyard and made art in the 1970s, she would have been no
> more in dialogue with the conceptual and performance and process
> art world than some yet to be discovered outsider artist.
>
> The vehicle of net art distribution is different, since the network
> is not just a medium but also its own kind of gallery cum para-
> gallery publication. Lately this suggests that the 'narrative' of
> the net art piece (or at least the conceptual net art piece) needs
> to be meme-tastic. It needs to be viral. There needs to be
> something about it that warrants blogging and re-blogging. These
> distribution requirements subtly (and sometimes not so subtly)
> dictate the kind of art being made. As an aside, there will always
> be artists like Miltos Manetas who come into net art from gallery
> art and bring the marketing mechanisms of the gallery world with
> them; and there will always be those who who master the making of
> meme-tastic conceptual net art and gradually begin participating in
> the marketing mechanisms of the gallery world.
>
> What constitutes 'successful' meme-tastic conceptual net art? The
> same thing that constitutes a good urban legend. It is a specific
> type of viral narrative, and its 'merits' often have much more to
> do with literary convention and marketing than the merits of the
> conceptual works of its predecessors in the early 70s (whose merits
> were based largely on their informed dialogue with and critique of
> earlier movements like abstract expressionism and minimalist
> sculpture). The net art viral narrative should have a punch line
> or some sort of twist, so that in its telling there is a reveal, a
> "ta da," a poetic turn. There has to be something to get. "Get
> it?" Like a joke. Like a concept. If it happens to be 'topical'
> and 'relevant' (in some sort of easily discernible, one-to-one
> relationship with the spectacle of "current events"), all the better.
>
> It can't be too complicated or subtle or nuanced. It should be
> terse and its narrative should be explainable in a paragraph-long
> blog post. I should "get it" without having to click on the link
> and actually experience the project. Although bandwidth has now
> increased to allow for a phenomenological online experience, the
> meme-tastic conceptual net art piece must not explore such realms
> (except in intentionally self-sabotaged, self-aware, lo-fi retro-
> forms like the kooky animated gif or the wacky ascii-mation).
>
> Such art should engender the kind of narrative that creates a buzz.
> In other words, it should be spectacular. The viral net marketing
> campaigns "subservient chicken" and "rubberburner" are actually
> great meme-tastic conceptual net art projects. The fact that they
> happen to be selling things for multi-national corporations is the
> only thing that ipso facto excludes them from being successful
> viral conceptual net art projects. This similarity is telling.
> For a group of post-avant-garde, anti-capitalist radicals,
> shouldn't there be something more that differentiates their work
> from the work of clever corporate marketers? Debord, Warhol,
> Koons, and Hirst might be invoked as precedences for these kinds of
> 'close calls' with the spectacle, as if the irony were intended or
> some sort of intentional detournement was going on. I wonder.
>
> This is just a cursory description of the nature of such meme-
> tastic, para-art narratives. Of course, the inherent, unspoken pre-
> requisite for all meme-tastic conceptual net art (the elephant in
> the room) is that it has to be reducible to a para-art narrative (a
> meme-byte). Art as object lesson, where the real oomph is in the
> retelling.
>
> Were I to write this email according to the rules of the meme-
> tastic narrative conceptual net-art piece, I would have to come up
> with some succinct, derogatory, buzz-worthy name for this kind of
> art, like 'buzz art.' The email would also have to be a lot shorter.
>
> This is not to say that every piece of net art that gets reblogged
> is simply 'buzz art' (doh! I'm already using it!). Heath
> Bunting's classic "Own, Be Owned, Or Remain Invisible" ( http://
> www.irational.org/heath/_readme.html ), low-bandwith as it is, is
> about all sorts of things other than creating a marketing buzz for
> itself. Its very function critiques the net's privatization of
> words. And (ironically enough), it rewards a visit and some
> clicking around. It's not just the idea of it, it's the strange
> connections and re-mappings that happen when you begin to click on
> "is.com" "on.com" "a.com" "mission.com." Its just interesting
> conceptual net art. Its deskilling is part of its conceptual
> point, not just perfunctory for the genre.
>
> Then there's an epic project like http://www.worldofawe.com that is
> ongoing and not seeking immediate meme-tast-icity. Even YHC-HEAVY
> INDUSTRIES is an ongoing series exploring the same basic formal/
> semiotic vocabulary in deliciously compulsive iterations. The more
> they pursue the same route, the less novel and meme-tastic their
> work becomes. Which is good, because their work has always
> generally (and sometimes specifically) critiqued the easy meme-tast-
> icity of the network.
>
> The answer is not necessarily to court galleries and offline para-
> gallery publications as a way of weeding out the dross, because
> they will weed out the dross based on criteria that, although well-
> established, might not aptly suit the evaluation of work in this
> medium. Perhaps because net art has been critiqued from uninformed
> perspectives by old media critics, proponents of net art feel the
> need to categorically boost it (whether it is ingenious, rote,
> opportunistic, or indifferent) as a way to make up the difference.
>
> For better or worse, blog culture courts the meme-tastic. Like CNN
> 24/7, if there are no real developments to report, you're still
> bound to report something.
>
> Shine On You Crazy Diamond,
> Curt
> +
> -> post: list@rhizome.org
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> +
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> 29.php

DISCUSSION

nznl.com digest, May 25, 2007 - May 31, 2007


nznl.com digest
May 25, 2007 - May 31, 2007
Posts 1812 - 1818

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1812. May 25, 2007
STUDY FOR A SMALL TALK, 2011, PERFORMANCE FOR A WALKER
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http://nznl.com/index.php?dag 070525

1813. May 26, 2007
INTERLUDE, 2011, INTERLUDE
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http://nznl.com/index.php?dag 070526

1814. May 27, 2007
MY HEART IS FULL, 2011, GENEROSITY
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http://nznl.com/index.php?dag 070527

1815. May 28, 2007
MY HEART IS FULL, 2011, ENDURANCE
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http://nznl.com/index.php?dag 070528

1816. May 29, 2007
MY HEART IS FULL, 2011, SINCERITY
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http://nznl.com/index.php?dag 070529

1817. May 30, 2007
STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
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http://nznl.com/index.php?dag 070530

1818. May 31, 2007
STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
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http://nznl.com/index.php?dag 070531

Geert Dekkers---------------------------
http://nznl.com | http://nznl.org | http://nznl.net
---------------------------------------

DISCUSSION

nznl.com digest, May 17, 2007 - May 23, 2007


nznl.com digest
May 17, 2007 - May 23, 2007
Posts 1804 - 1810

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1804. May 17, 2007
SKIN, 2011, SKIN (BERLIN 1961)
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http://nznl.com/index.php?dag 070517

1805. May 18, 2007
SKIN, 2011, SKIN (CYPRUS 2007)
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http://nznl.com/index.php?dag 070518

1806. May 19, 2007
SKIN, 2011, SKIN (CHRISTCHURCH 1961)
http://nznl.com/index.php?dag 070519

1807. May 20, 2007
PLAN FOR SOMETHING COMPLETE, 2011, PLASTER OF PARIS, PLYWOOD,
ACRYLICS, STAGE LIGHTING
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http://nznl.com/index.php?dag 070520

1808. May 21, 2007
EVERTHING IS COMPLETE, 2011, RECLAIMED PINE
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http://nznl.com/index.php?dag 070521

1809. May 22, 2007
COMPLETE, 2011, RECLAIMED
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http://nznl.com/index.php?dag 070522

1810. May 23, 2007
STUDY FOR A SMALL TALK, 2011, PERFORMANCE FOR A WALKER
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http://nznl.com/index.php?dag 070523

Geert Dekkers---------------------------
http://nznl.com | http://nznl.org | http://nznl.net
---------------------------------------

DISCUSSION

nznl.com digest, May 10, 2007 - May 16, 2007


nznl.com digest
May 10, 2007 - May 16, 2007
Posts 1797 - 1803

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1797. May 10, 2007
AN EARLY EXAMPLE OF HETERARCHIC ARCHITECTURE, 2011, PLASTER OF PARIS,
PLYWOOD, ACRYLICS (TCP/IP PACKET TIANANMEN CHINA)
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http://nznl.com/index.php?dag 070510

1798. May 11, 2007
SKIN, 2011, SKIN
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http://nznl.com/index.php?dag 070511

1799. May 12, 2007
SKIN, 2011, SKIN
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http://nznl.com/index.php?dag 070512

1800. May 13, 2007
SKIN, 2011, SKIN
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http://nznl.com/index.php?dag 070513

1801. May 14, 2007
HEAD, 2011, HEAD
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http://nznl.com/index.php?dag 070514

1802. May 15, 2007
HEAD, 2011. HEAD
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http://nznl.com/index.php?dag 070515

1803. May 16, 2007
HEAD, 2011, HEAD
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http://nznl.com/index.php?dag 070516