Michael Szpakowski
Since the beginning
Works in Harlow United Kingdom of Great Britain and Northern Ireland

ARTBASE (1)
Discussions (1000) Opportunities (4) Events (14) Jobs (0)
DISCUSSION

Re: FWD ArtBase Update--Rub Linda


I'm not trying to revive the discussion on the merits
of the piece itself about which a number of us said
quite a lot at the time but I must say I'm a little
surprised at this.
I understood that one of the criteria for inclusion on
the ArtBase was the amount of discussion a piece
generated on this list, amongst other places.
Whatever position one takes on this piece it certainly
did that.
Additionally it seems to me that the context of the
war, which again was a major topic of discussion on
ths list makes the work, at the very least, of some
historical interest.
The above makes me think it's essentially an aesthetic
judgement -but this sort of thing is notoriously
subjective, especially when considering contemporary
work; I think it's uncontroversial to say there is
much weaker work than this on the artbase.

--- joseph mcelroy <joseph@electrichands.com> wrote:
>
> The official word is out - IT AINT ART. :)
> joseph
>
> Forwarded messaged
>
> Hi joseph
>
> We receive many requests for inclusion in the
> Rhizome ArtBase, but are unable to index all of
> them. We regret that we are unable to include your
> artwork
>
> Rub Linda
>
> in the ArtBase because it did not meet our selection
> criteria.
>
> You may read our selection criteria online at
> http://rhizome.org/artbase/9.php3
>
> If you have any questions as to why your artwork was
> not able to be included, please contact me via email
> (alena@rhizome.org).
>
> Best Regards,
>
> Alena Williams
> Rhizome.org
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DISCUSSION

Re: A Dookie for Every Sandanista


<much more
art that looks like that
award winning beer commercial played during the
superbowl.>
I think this is a really interesting question.
I don't know the ad in question, but the other week in
the UK there was an anthology on TV of the
"100 best ever" ads, voted for by the public .
I turned it on idly and I was totally gripped.
In many ways it was a manual, a masterclass, in short
film making, and it made me reflect on this whole
question of whether we should perhaps aspire to the
production values of what Capital can buy in terms of
the "creatives".
I can't help feeling that we can learn useful lessons
but as to whether we can simply say "We should be as
sharp as this" &c I'm really doubtful and it comes
back I think to the distinction that I would want to
make between corporate entertainment ( and ad making
for that matter) and art.
I believe craft is absolutely crucial to what we do
and quite often I would want to "bend the stick" to
disparage work that is trendy but ultimately craftless
and lazy.
Nevertheless it seems to me that craft is a necessary
but far from sufficient condition for the creation of
great art. Furthermore, what is striking about many
authentic works of art is a certain lack of finish
-its almost as if the artist were too focussed on the
whole complex of things going on in the piece to be
overly concerned about the minutiae of complete
technical perfection.
So if you compare fine and graphic arts 9/10 times
technically the makers of ads trump the fine artists.
The difficulty in seeing the woods for the trees
involves the fact that the ad makers and the artists (
increasingly?) use the same tehcniques, equipment,
materials.
A certain variety of sloppy and lazy postmdernism says
"it doesn't matter: all discourses can be analyzed on
the same continuum" - the ad is the same kind of beast
as a Fellini film.
I don't accept that - its necessary to look at the
entire social, historical and cultural context that
surrounds a piece of work to know how to situate it.
Having done that I want to insist on the difference
between the artist who in some way struggles to tell
the truth and the corporate entertainer or "creative"
who struggles to sell beer or to flatter the wealthy
and powerful.
best
michael

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DISCUSSION

Re: core-specific combinatorial modeling #0001 excerpt


August
I really like this one. It has the same sense of
economy and rhythm that your 'nominal quiescent
current' pieces had and where I find some of your work
simply overwhelming, this draws me into its world.
What fascinates me about this type of work is not only
its forbears in terms of the automatic writing of the
surrealists and the Gysin/Burroughs cut up technique
( and I know that you might want to place less
emphasis on this than I would) but some of the
linguistic resonances -English is already an isolating
language but this piece makes it more so -the micro
grammar of the piece is perhaps more akin to Chinese
than anything else and there are also echoes of
various kinds of pidgin English there.
I know that what you do is very carefully thought out.
Do these kinds of considerations about the structure
of language itself come consciously into play for you?
Another unrelated point: would you recognise the work
of someone like Stein as in anyway akin to yours? I'm
currently embarking on "The Making of Americans" (
with a certain amount of trepidation to be sure).
The other contemporary figure who springs to mind for
me is Ben Marcus, whose work I love - do you know it?
Questions, questions!
best
michael

--- August Highland <hmfah4@hotmail.com> wrote:
> core-specific combinatorial modeling #0001
> excerpt
>
>
>
> please muse your verse loop for me
>
>
>
>
>
>
> Different. Ambition child individual stand child
> find highest
>
> first man who brings daughter room. Cried hall
> only wife.
>
> Lizards general ecological studies. Simply because
> widespread
> different. Ambition child individual stand child
> find highest
>
> already locked paying royalties Microsoft. Better
> product came first
> man who brings daughter room. Cried hall only wife.
>
> Along stone-flagged corridor went. Every hand
> beheld fellow lizards
> general ecological studies. Simply because
> widespread different.
> Ambition child individual stand child find highest
>
> heart hurried off himself scene strange adventure.
> Thinking. Already
> locked paying royalties Microsoft. Better product
> came first man who
> brings daughter room. Cried hall only wife.
>
> Encouraged hope some day return love. Idea pleased
> mightily. Along
> stone-flagged corridor went. Every hand beheld
> fellow lizards general
> ecological studies. Simply because widespread
> different. Ambition child
> individual stand child find highest
>
> scarlet-liveried page. Turned considering gentle.
> Finely heart hurried
> off himself scene strange adventure. Thinking.
> Already locked paying
> royalties Microsoft. Better product came first man
> who brings daughter
> room. Cried hall only wife.
>
> Encouraged hope some day return love. Idea pleased
> mightily. Along
> stone-flagged corridor went. Every hand beheld
> fellow lizards general
> ecological studies. Simply because widespread
>
> soldiers attention. Scarlet-liveried page. Turned
> considering gentle.
> Finely heart hurried off himself scene strange
> adventure. Thinking.
> Already locked paying royalties Microsoft. Better
> product came
>
> modifications business practices. Among
> implementation Chinese
> encouraged hope some day return love. Idea pleased
> mightily. Along
> stone-flagged corridor went. Every hand beheld
> fellow
>
> soldiers attention. Scarlet-liveried page. Turned
> considering gentle.
> Finely heart hurried off himself scene strange
> adventure. Thinking.
>
> Thakane answered instantly commanded taken hut
> mother. Placed
> insufficient energy mineral resources. Declared Qian
> Shaojun.
> Modifications business practices. Among
> implementation Chinese
> encouraged hope some day return love. Idea pleased
> mightily.
>
> Soldiers attention. Scarlet-liveried page. Turned
> considering gentle.
> Finely
>
> Juno still alive. Lives Pentiel plantation
> William. Greatest Thakane
> answered instantly commanded taken hut mother.
> Placed insufficient
> energy mineral resources. Declared Qian Shaojun.
> Modifications business
> practices. Among implementation Chinese
>
> old woman seen. Soldiers attention.
>
> May. Help God. Beat off. Juno still alive. Lives
> Pentiel plantation
> William. Greatest Thakane answered instantly
> commanded taken hut mother.
> Placed insufficient energy mineral resources.
> Declared Qian Shaojun.
> Modifications business practices. Among
> implementation Chinese
>
> old woman seen.
>
> May. Help God. Beat off. Juno still alive. Lives
> Pentiel plantation
> William. Greatest Thakane answered instantly
> commanded taken hut mother.
> Placed insufficient energy mineral resources.
> Declared Qian Shaojun.
>
> Up. Old woman seen.
>
> Straddled waist. Sexy while mommy away girly will
> play may. Help God.
> Beat off. Juno still alive. Lives Pentiel plantation
> William. Greatest
>
> General Magic. Up. Old woman seen.
>
> Prince running full speed dog almost fell
> something looked like
> straddled waist. Sexy while mommy away girly will
> play may. Help God.
> Beat off.
>
> General Magic. Up.
>
> Prince running full speed dog almost fell
> something looked like
> straddled waist. Sexy while mommy away girly will
> play
>
> one other right nought one love. One blessed love
> hath now. General
> Magic. Up.
>
> Took bear while gather berries. Prince running
> full speed dog almost
> fell something looked like straddled waist. Sexy
> while mommy away girly
> will play
>
>
>
> AUGUST HIGHLAND
>
> the muse apprentice guild
> "expanding the canon into the 21st century"
> www.muse-apprentice-guild.com
>
> culture animal
> "changing everything conventional about 20th century
> literature"
> www.cultureanimal.com
>
>
>
>
>
> ---
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DISCUSSION

Re: The Third Place


Well! After my anti corporate rant not only was I
blessed with four copies of the below in my inbox, I
got my own personal one with a nice flyer attached.
Was it something I said?
michael
--- Jman <info@dinkiburo.com> wrote:
> PlayStation2 rewards digital expressions and net art
>
>
> Just go to www.thirdplacegallery.org
>
> Login and upload your link!
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DISCUSSION

Re: Fwd: FW: Digital Artists: Call for Entries


Hi Eryk (and Joseph ,Pall)
Well none of the below really
< And what will we do if we are not happy? Chastise
those who may want to
participate anyway? Or do we assume that our work is
superior because it
might offend some buisiness people? Or do we assume
that art is only
relevant if it offends buisiness people?>
especially the last which is really a caricature of my
position.
Ironically I think one of the criticisms that could be
levelled about my own work is that it *is* lacking in
politics ot shock value of any sort ( I'm not saying
it would be a valid criticism but I can imagine
someone making it, especially in these fevered times)
-but its that way because that's what I feel moved to
make, not because someone tells me to.
Neither do I want to defend actual pornography.
( I fact I suspect that "pornographic art" is a
contradiction in terms)
It's just that even a cursory glance at the history of
art will show that "pornography" has been used over
and over again as a code word to attack the new and
challenging.
Furthermore I have no problem with taking the
corporate or state shilling under many circumstances .
Quite recently in fact I accepted a sum from a
foundation run by an East London property developer
with whom I imagine I would see eye to eye about very
little but who significantly makes no limitations
whatsoever upon what I am going to make with the
money.
*Nor* am I particulalrly opposed to the notion of
restriction or commission, if it's honestly stated.
I'm not religious so I always make it abundantly clear
that I will not accept work with a religious flavour
but I don't attack the right of the church or any
other body to commission work with specifically
religious intentions.
Even the vanity portrait has created great work.
No, my beef with this call is very specific,
which is why the deploymnet of oro bouros felt more
like a bludgeon than a clinical dissection.
The call purports to be about digital art in general,
the restrictions are added as an afterthought.
I find it's tenor completely dishonest - I don't even
think it's a call for artwork - it's a call for
circuses to amuse the assembled dignitaries.
The honest thing to do would be to say " corporate
entertainment required" - for me art means something
more than this.
And I do , forgive me, find it offensive that this is
the one, the call says, where we might actually make
some money, especially in light of the current
cutbacks in arts and education funding ( and the
concomitant dismissal of figures associated with new
media art.)
There is a history of wealthy and discerning people (
and the wealthy are often very discerning because they
have more time to cultivate that discernment -this is
a fact) commissioning great art; anyone who denies
that in capitalist society art is tied up with the
market is naive or foolish, an oro bouros, but this
call represents something completely different.
I do think its legitimate to raise on this list,
which is after all a discussion list about art and
often about the society in which it is made, what I
believe to be the dishonesty at the heart of this call
and it's rather worrying implications in times like
these when many freedoms are under attack.
best
michael

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