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

ARTBASE (1)
Discussions (1003) Opportunities (5) Events (14) Jobs (0)
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!
> + ti esrever dna ti pilf nwod gniht ym tup
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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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DISCUSSION

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


Hi
I just wanted to add my threepennyworth.
I often disagree with T Whid but I always read his
posts. They're informed, intelligent and often funny.
I was *deeply* unhappy with the tone of his recent
post and I said so.
He replied in some detail and as far as I'm concerned
we've said our pieces on this matter & we simply
disagree. I've no wish to pursue endless pesonalised
wrangling - my preference as always is for fierce but
courteous debate on the issues.
best
michael

--- furtherfield <info@furtherfield.org> wrote:
> Hi Joseph,
>
> I kind of feel that T.Whid has always been one of
> the more polite dudes on
> rhizome, not actively attacking someone to make
> himself feel better. That's
> not his buzz - not like some of the other rhizome
> dead-heads who used the
> identity of 'Karei' to personally attack users on
> the list as an in-house
> joke on the list users - kool eh!
>
> That's why I was surprised...but I am beginning to
> get the gist that it was
> not personal - I hope.
>
> Also, when we visited New York recently, T.Whid was
> one of the least snotty
> and more openly friendly out of most of the rhizome
> list users that we met
> (other than you good self of course).
>
> marc
>
>
>
>
> > May I point out to one and all that the extent of
> a certain t.whid's
> brilliant critique of our own work consisted almost
> entirely of the words
> >
> > "crappy work"
> >
> > <applause><applause>
> >
> > Q: What do you get when you cross a hippopotamus
> and a black hawk?
> > A: A Hippocritic dressed in black.
> >
> > <applause><applause>
> >
> > joseph
> >
> >
> > t.whid wrote:
> >
> > >
> > >
> > > ---- Michael Szpakowski <szpako@yahoo.com>
> wrote:
> > > > See, T. - I think you're being just a bit
> disingenuous
> > > > here.
> > >
> > > how? I've been honest the entire time.
> > >
> > >
> > > > All of the people involved in praising Jess's
> work
> > > > yesterday have posted rigorous, critical and
> closely
> > > > argued stuff over the last few months.
> > >
> > > no argument, i was responding specifically to
> the posts i quoted in
> > > my
> > > original post.
> > >
> > >
> > > > Could it be that your reaction to the posts
> has more
> > > > to do with the fact that many of those posting
> have
> > > > either explicitly or implicitly adopted
> positions on
> > > > this list that are opposed to your idea of
> what
> > > > constitutes good or serious art.
> > >
> > > no, that could not be.
> > >
> > > > In an offlist mail to me you denied that you
> had
> > > > accused us of insincerity and yet the only
> other
> > > > possible reading of your post is that you
> believe that
> > > > you have some sort of privileged access as to
> what
> > > > constitutes the worthwhile.
> > >
> > > who's being disingenuous? I only posted that the
> specific remarks
> > > quoted in the post where not serious art
> discussion but rather mere
> > > back-slapping. I have no privilege other than
> being able to read the
> > > english language. I had no doubt that the
> back-slapping was genuine,
> > > my
> > > critique was with the depth of the praise, not
> that it wasn't genuine
> > > or deserved.
> > >
> > > > Tell us please, just who *are* the Sunday
> painters,
> > > > the dilettantes of your post?
> > >
> > > people who aren't on this list. most on this
> list don't fit into this
> > > category. that was my critique, we are
> collectively better than
> > > that and i was hoping to raise the level of
> discussion.
> > >
> > > > If you didn't think Jess's piece was any good
> then why
> > > > not address *that* rather than impugning the
> motives
> > > > of those who did?
> > >
> > > this is ridiculous. my opinions regarding Jess'
> piece have nothing to
> > > do with my post. i didn't want to mix up
> whatever my reaction to the
> > > piece might be and my criticism of the remarks
> surrounding it.
> > >
> > > > I'd be more than happy to take part in an
> extended
> > > > and detailed discussion about the actual
> artistic
> > > > issues involved.
> > >
> > > that's all fine and good, but my point was to
> address the level of
> > > critical discussion and i think i'm through with
> it.
> > >
> > > take care,
> > > <twhid>
> > > http://www.mteww.com
> > > </twhid>
> > + ti esrever dna ti pilf nwod gniht ym tup
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> set out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
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