Mark Shepard
Since the beginning
Works in Buffalo, New York United States of America

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TONIGHT: Industrian Pilz @ Anthology Film Archives - Wednesday, April 20th @ 6PM

WHAT:Industrian Pilz (digital video, 39 min, 2003)
WHEN:Wednesday, April 20th @ 6PM
WHERE:Anthology Film Archives
32 Second Ave @ 2nd St, NYC
INFO:(212) 505-5181
$5 Admission

A short film by Mark Shepard

Industrian Pilz examines the culture of industrialization through the
lens of mycology - the botanical study of fungi. Splicing original
investigative footage shot in a German industrial zone with archival
film clips, scenes of cultural globalization from popular media, and
samplings from the music and musings of pioneering myco-aesthete, John
Cage, the film recombines real-time expressions of the zone's recent
history to make visible a broader and more gradual process. As
capitalism's claims to absolute naturalness gain rhetorical momentum,
the mycological lens allows models of 'the natural' both as the
agent-less conversion of decaying matter and as a parasitic,
potentially toxic, and deeply site specific process - one whose odd
position in the economy of matter does not allow easy romantic
identifications. Through a hybrid structure incorporating documentary,
narrative and "industrial video" formats, the film explores the flotsam
and jetsam drifting in the wake of West Germany's absorption of a
decaying East German state.


On Wednesday, April 20th, NewFilmmakers Celebrates Modern Life.


Re: [Locative] Re: RHIZOME_RAW: Know Where You Are

It's interesting to find these questions arising again today. Laura
Kurgan ten years ago asked similar questions about GPS with her project
"You are here" -

More recently, Jullian Bleecker, Marina Zurkow and Scott Patterson
addressed fetishes for locating ourselves within cartesian space by
positing PDPal - - as an "emotional GPS", implying
that "where we are" has less to do with precise location and more to do
with what we associate that location with.

From "You are here: Museo"
Laura Kurgan

"Where we are, these days, seems less a matter of fixed locations and
stable reference points, and more a matter of networks, which is to
say of displacements and transfers, of nodes defined only by their
relative positions in a shifting field. Even standing still, we
operate at
once in a number of overlapping and incommensurable networks,
and so in a number of places -- at once. Orienting oneself in this
open and ongoing interaction appears all the more imperative, and
all the more impossible. "Where am I" in what? Where am I, where?
In the global market, in the universe, in the family, in a corporate
database, in some collective history, in the city or the desert, in the
Internet, on the information superhighway?

With the Global Positioning System, it is said, a definite answer can
finally be provided, with a precision verging on one centimeter.
"Every square meter of the earth's surface [will] have a unique
address," as one user's guide to GPS puts it, and "everyone will have
the ability to know exactly where they are, all the time." But the
space or the architecture of the information system that wants to
locate us once and for all in space has its own complexity, its own
invisible relays and delays. The difficulty of charting the spaces that
chart the spaces, of mapping the scaleless networks of the very
system that promises finally to end our disorientation, demands
redefining the points and lines and planes that build the map, and
lingering in their strange spaces and times. "You Are Here:
Information Drift" is an attempt to begin mapping this emerging
space of information, using its own technologies. These are drawings
with satellites, not to pinpoint a location but to experience the drift
and disorientation at work in any map or any architecture --
especially the architecture of information."


Re: united states of canada

US vote boosts interest in Canada:

Joining's easy, eh
Despite that War of 1812 thing Thane Burnett says the states that voted
Democrat can join us

On Nov 5, 2004, at 8:28 PM, Jessica Ivins wrote:

> this map is looking pretty good to me.
> jess
> Jessica Ivins
> Intern,
> New Museum of Contemporary Art
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> NYC, NY 10001
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Re: Rumsfeld: What a Wonderful World

<louis armstrong>


what if:

the issue that decides this election is not the economy,
but credibility


poor little bush
burning in effigy
finished his daddy's war
tried not to make the same mistake about the economy
but didn't foresee this:

flames beginning to find wind

On Mar 17, 2004, at 4:47 PM, t.whid wrote:

> ===
> <twhid></twhid>
> ===
> +
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> -> questions:
> -> subscribe/unsubscribe:
> -> give:
> -> visit: on Fridays the web site is open to non-members
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Re: War on Criticism

Bush Asks Congress For $30 Billion To Help Fight War on Criticism

On Wednesday, December 31, 1969, at 07:45 PM, t.whid wrote:

> hi guys,
> my last thoughts on this, snipped horribly eryk.
> and i take full responsibility for derailing the conversation into the
> meta discussion on critique.
> At 2:35 -0400 7/8/03, Eryk Salvaggio wrote:
>> I'm not sure if this is at all relevant, but there is something about
>> what
>> Curt is saying that resonates with some of my own thoughts on the
>> subject of
>> criticism.
>> Firstly, I am an autodidact when it comes to critique. Most of what I
>> come
>> up with is simply through reason, and frankly, I have had so many
>> arguments
>> shot down with "oh, thats a modernist idea"
> when i called Curt's view a modernist view I wasn't disparaging it,
> simply labeling it, not discounting it. I wasn't aware if he knew that
> his definitions, his mode of thought or critique, had a similar
> presence in 20th century art which might be useful to him.
> Eryk Salvaggio wrote:
>>> I look at a piece without training and contextualizing histories;
>>> it's
>>> usually responded to with the dismissal that I simply don't know
>>> what I am
>>> talking about. So, what I get from Curt- and correct me if I am
>>> wrong- is
>>> that art can be evaluated based on zero; art can be looked at purely
>>> in
>>> contemporary contexts and if one does not appreciate it based on
>>> thier own
>>> internal reasoning, then sure- I am uneducated, but I still don't
>>> like the
>>> piece, and the piece still failed in that regard. It is still a
>>> criticism
>>> worth looking at.
> My point is that you're always interrupting work through your own
> history and experience. So, even if you think you're measuring from 0,
> you're not. The problem is with this idea of 0. what is it? classic
> greek statuary. A sunset? Your way your cat feels on your tummy? The
> Sims?
> I would like to think that I measure work based solely on my own
> innate senses that are attuned to the infinite truth and humanity of
> the universe.
> but i don't.
> If one's experience with contemporary art is limited than their
> opinions might seem limited to other's whose experience is more rich
> and varied. call it snobbery, call it elitism, call it taste; call it
> whatever you want, but (allow me one of my analogies) when i need wine
> recommendations I don't ask the 18-year-old clerk at the local Piggly
> Wiggly*.
> ++++
> *what the hell is Piggly Wiggly? Piggly Wiggly