PORTFOLIO (1)
BIO
Michael Szpakowski is an artist, composer, writer and educator.
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
Re: simon pope: art for networks
Does anyone understand this?
michael
--- matthew fuller <matt@axia.demon.co.uk> wrote:
>
>
>
> The following interview is carried out in connection
> with opening of
> a show 'Art for Networks' starting now at Chapter
> Arts Centre,
> Cardiff, Wales. (It tours afterwards.) The show
> includes work by:
> Rachel Baker, Anna Best, Heath Bunting, Adam
> Chodzko, Ryosuke Cohen,
> Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> Radio Aqualia,
> Stephen Willats, Talkeoke, Technologies to the
> People.
>
>
>
>
>
>
>
>
> 6 Questions in search of a network
>
> 1. Matthew Fuller: In the original Art for Networks
> project you state
> that one of the motivations of the work was to
> discover another set
> of relations for art on the internet. What was
> argued against was
> the idea that network art could be categorised
> according to a certain
> chronology. This chronology slotted certain works
> into a history
> primarily on the basis of how closely they married
> themselves to
> technological developments. What was suggested
> instead was that there
> was a whole wider sense of networks that are being
> made and used by
> artists. Do you think that this statement of an
> alternate set of
> trajectories still holds true or polemically
> necessary?
>
> Simon Pope: The Art for Networks project was
> initially devised as a
> way of making sense of, and investigating how to
> move beyond,
> so-called 'net.art'. This definition was, as Heath
> Bunting (1) has
> said, 'a joke and a fake' anyway, but held sway in
> some circles.
>
> 'Net.Art' signified a technical art of the Internet
> or, more
> specifically, the Web. It was defined as a
> progression through
> clearly defined stylistic and technical phases: from
> an Avant Garde,
> through 'high period' Web-based net.art and
> interminable Mannerist
> replays, all the while waiting for the emergence of
> the new Avant
> Garde...
> This lame art historical approach denies wider or
> longer views of how
> artists and their work operate.
>
> The demand for a neat, linear art history becomes a
> real problem for
> anyone it implicates. As Jodi are quoted as saying
> "We never choose
> to be net.artists or not."(2) Pinned onto this
> restrictive and
> arbitrary time-line, artists have their destinies
> plotted for them.
> It was time to take Stewart Home's cue (3) and begin
> a process of
> 'self-historicising'. The exploration of more
> expansive definitions
> of 'network' is part of this, at first through
> interviews and
> presentations in 2000 and now through this
> exhibition.
>
> 2. MF: If the show works through various uses and
> creations of
> networks as art, were there any ways in which this
> focus inflected
> the way in which the show was curated? Can we
> imagine a curation for
> networks?
>
> SP: 'Network' isn't used here as an 'ideal concept'
> (4). It remains
> open to interpretation and ongoing enquiry by the
> participating
> artists. The network becomes a field, terrain or
> environment through
> which to operate on, in or through.
>
> Networks have been described in many ways, often at
> the moment where
> some phenomenon eludes an accepted form of
> classification: Landow
> reminds us that Foucault adopts the network when
> describing the means
> "...to link together a wide range of often
> contradictory taxonomies,
> observations, interpretations, categories, and rules
> of observation."
> (5). Jeremy Deller's work often exemplifies this,
> for example.
>
> Josephine Berry noted that "The term 'networks' has
> nearly become a
> cipher for saying 'everything' with the proviso that
> 'everything' be
> framed by technology" (6).
> Jodi's 'Wrong Browser' project continues their
> scrutiny of the
> conventions of the most popular of these
> technologies that link
> 'everything', the Web Browser. (7).
>
> Others artists are not concerned with technology as
> such. They
> investigate social networks, distributed knowledge
> or social
> protocols, for example.
>
> Together, all of the artists in this show help us
> speculate, with the
> widest possible scope, on what an art for networks
> might be.
>
> 3. MF: Perhaps it is useful to think about two of
> the modes of
> network that currently exist. There's the
> development of systems that
> take heterogeneous material and connect it through a
> unifying,
> reductive, measurable protocol. Another might be
> informatisation -
> that everything can be transposed into a
> transmissable and calculable
> numerical 'equivalent'. Perhaps these kinds of
> networking
> technologies are linked to the idea of a discovery
> of an ur-language,
> a code that precedes all codes.
> A different kind of network might be that which
> is deliberately
> non-compressible, that generates its own terms of
> composition as it's
> enacted; rather than reducing one thing to its
> intermediary, it
> focuses on inventing new connections, proximities,
> conjunctural
> leaps.
>
> SP: The unifying system forces homogeneity onto
> previously
> heterogeneous material and has plenty of historical
> precedents such
> as systematic classification in Zoology, the Dewey
> decimal system.
> Objectified matter is ordered, processed - the
> system aims for
> closure, completeness.
> In your second example, the subject resists
> classification or
> reduction to a cipher. For example, in
> organizations, there's always
> tension between structure - invariably hierarchical
> - and those who
> work within it. Despite the most ruthless
> line-management, the
> subject - individual or group - will find ways of
> subverting the
> structure. A common form of resistance is the
> 'gossip network'.
> Rachel Baker's 'Art of Work', for example, has
> previously inserted
> itself into this context. (8)
>
> I think Manuel De Landa's model (9) of meshworks and
> hierarchies is
> useful here and relates, (at least in my
> understanding of it), to the
> relationship between networks, hierarchies, agency
> and structure.
>
> Meshworks (networks) and hierarchies exist as a
> mixture. The meshwork
> formed as an aggregate of dissimilar, heterogeneous
> material, the
> hierarchy from similar, homogeneous material,
> forming strata. They
>
=== message truncated ===
=====
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michael
--- matthew fuller <matt@axia.demon.co.uk> wrote:
>
>
>
> The following interview is carried out in connection
> with opening of
> a show 'Art for Networks' starting now at Chapter
> Arts Centre,
> Cardiff, Wales. (It tours afterwards.) The show
> includes work by:
> Rachel Baker, Anna Best, Heath Bunting, Adam
> Chodzko, Ryosuke Cohen,
> Jeremy Deller, Jodi, Nina Pope and Karen Guthrie,
> Radio Aqualia,
> Stephen Willats, Talkeoke, Technologies to the
> People.
>
>
>
>
>
>
>
>
> 6 Questions in search of a network
>
> 1. Matthew Fuller: In the original Art for Networks
> project you state
> that one of the motivations of the work was to
> discover another set
> of relations for art on the internet. What was
> argued against was
> the idea that network art could be categorised
> according to a certain
> chronology. This chronology slotted certain works
> into a history
> primarily on the basis of how closely they married
> themselves to
> technological developments. What was suggested
> instead was that there
> was a whole wider sense of networks that are being
> made and used by
> artists. Do you think that this statement of an
> alternate set of
> trajectories still holds true or polemically
> necessary?
>
> Simon Pope: The Art for Networks project was
> initially devised as a
> way of making sense of, and investigating how to
> move beyond,
> so-called 'net.art'. This definition was, as Heath
> Bunting (1) has
> said, 'a joke and a fake' anyway, but held sway in
> some circles.
>
> 'Net.Art' signified a technical art of the Internet
> or, more
> specifically, the Web. It was defined as a
> progression through
> clearly defined stylistic and technical phases: from
> an Avant Garde,
> through 'high period' Web-based net.art and
> interminable Mannerist
> replays, all the while waiting for the emergence of
> the new Avant
> Garde...
> This lame art historical approach denies wider or
> longer views of how
> artists and their work operate.
>
> The demand for a neat, linear art history becomes a
> real problem for
> anyone it implicates. As Jodi are quoted as saying
> "We never choose
> to be net.artists or not."(2) Pinned onto this
> restrictive and
> arbitrary time-line, artists have their destinies
> plotted for them.
> It was time to take Stewart Home's cue (3) and begin
> a process of
> 'self-historicising'. The exploration of more
> expansive definitions
> of 'network' is part of this, at first through
> interviews and
> presentations in 2000 and now through this
> exhibition.
>
> 2. MF: If the show works through various uses and
> creations of
> networks as art, were there any ways in which this
> focus inflected
> the way in which the show was curated? Can we
> imagine a curation for
> networks?
>
> SP: 'Network' isn't used here as an 'ideal concept'
> (4). It remains
> open to interpretation and ongoing enquiry by the
> participating
> artists. The network becomes a field, terrain or
> environment through
> which to operate on, in or through.
>
> Networks have been described in many ways, often at
> the moment where
> some phenomenon eludes an accepted form of
> classification: Landow
> reminds us that Foucault adopts the network when
> describing the means
> "...to link together a wide range of often
> contradictory taxonomies,
> observations, interpretations, categories, and rules
> of observation."
> (5). Jeremy Deller's work often exemplifies this,
> for example.
>
> Josephine Berry noted that "The term 'networks' has
> nearly become a
> cipher for saying 'everything' with the proviso that
> 'everything' be
> framed by technology" (6).
> Jodi's 'Wrong Browser' project continues their
> scrutiny of the
> conventions of the most popular of these
> technologies that link
> 'everything', the Web Browser. (7).
>
> Others artists are not concerned with technology as
> such. They
> investigate social networks, distributed knowledge
> or social
> protocols, for example.
>
> Together, all of the artists in this show help us
> speculate, with the
> widest possible scope, on what an art for networks
> might be.
>
> 3. MF: Perhaps it is useful to think about two of
> the modes of
> network that currently exist. There's the
> development of systems that
> take heterogeneous material and connect it through a
> unifying,
> reductive, measurable protocol. Another might be
> informatisation -
> that everything can be transposed into a
> transmissable and calculable
> numerical 'equivalent'. Perhaps these kinds of
> networking
> technologies are linked to the idea of a discovery
> of an ur-language,
> a code that precedes all codes.
> A different kind of network might be that which
> is deliberately
> non-compressible, that generates its own terms of
> composition as it's
> enacted; rather than reducing one thing to its
> intermediary, it
> focuses on inventing new connections, proximities,
> conjunctural
> leaps.
>
> SP: The unifying system forces homogeneity onto
> previously
> heterogeneous material and has plenty of historical
> precedents such
> as systematic classification in Zoology, the Dewey
> decimal system.
> Objectified matter is ordered, processed - the
> system aims for
> closure, completeness.
> In your second example, the subject resists
> classification or
> reduction to a cipher. For example, in
> organizations, there's always
> tension between structure - invariably hierarchical
> - and those who
> work within it. Despite the most ruthless
> line-management, the
> subject - individual or group - will find ways of
> subverting the
> structure. A common form of resistance is the
> 'gossip network'.
> Rachel Baker's 'Art of Work', for example, has
> previously inserted
> itself into this context. (8)
>
> I think Manuel De Landa's model (9) of meshworks and
> hierarchies is
> useful here and relates, (at least in my
> understanding of it), to the
> relationship between networks, hierarchies, agency
> and structure.
>
> Meshworks (networks) and hierarchies exist as a
> mixture. The meshwork
> formed as an aggregate of dissimilar, heterogeneous
> material, the
> hierarchy from similar, homogeneous material,
> forming strata. They
>
=== message truncated ===
=====
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Re: massive solidarity against the war
Well!- that's a decisive argument- you must be
schooled in all the arts of rhetoric, Wally.
--- Wally Keeler <poetburo@sympatico.ca> wrote:
> From: "furtherfield" <info@furtherfield.org>
> > Blankhttp://www.stopwar.org.uk/groups.asp
> > all the groups & more who are at the STOP THE WAR
> march today in London.
>
> a herd of sheep
>
> + AFK, tornado
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
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schooled in all the arts of rhetoric, Wally.
--- Wally Keeler <poetburo@sympatico.ca> wrote:
> From: "furtherfield" <info@furtherfield.org>
> > Blankhttp://www.stopwar.org.uk/groups.asp
> > all the groups & more who are at the STOP THE WAR
> march today in London.
>
> a herd of sheep
>
> + AFK, tornado
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
http://www.somedancersandmusicians.com/
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Re: New Net.Art: "Protest Pieces 1-5."
Hi Eryk
<Protest Pieces, 1-5>
These are very effective -I especially like #2&3, the
ones which are b&w.
< so you have to explore the scene in the photograph
> on your own, as if it >
& this works in one way very well-I quite like the
unusual 'interactivity'(much more hands on and fun
than clicking) but part of me wondered whether it
might have been effective to crop back just to the
faces, so that in a way the part then stands for the
whole.
It's been a day of protest- I just got back from the
fantastic 400,000 strong London anti war demo.
Michael.
=====
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<Protest Pieces, 1-5>
These are very effective -I especially like #2&3, the
ones which are b&w.
< so you have to explore the scene in the photograph
> on your own, as if it >
& this works in one way very well-I quite like the
unusual 'interactivity'(much more hands on and fun
than clicking) but part of me wondered whether it
might have been effective to crop back just to the
faces, so that in a way the part then stands for the
whole.
It's been a day of protest- I just got back from the
fantastic 400,000 strong London anti war demo.
Michael.
=====
http://www.somedancersandmusicians.com/
__________________________________________________
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Re: new work
Hi
if anyone out there did check the below and heeded my
advice to <make sure your sound is on.> they probably
thought I was mad. Sorry .It's now fixed. I think .
Michael
--- Michael Szpakowski <szpako@yahoo.com> wrote:
> A little chamber piece:
>
>
http://www.somedancersandmusicians.com/for/ForJanet.html
>
> make sure your sound is on.
> best
> Michael
>
> =====
> http://www.somedancersandmusicians.com/
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> + Barbarians at the XOR-gate
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
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__________________________________________________
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if anyone out there did check the below and heeded my
advice to <make sure your sound is on.> they probably
thought I was mad. Sorry .It's now fixed. I think .
Michael
--- Michael Szpakowski <szpako@yahoo.com> wrote:
> A little chamber piece:
>
>
http://www.somedancersandmusicians.com/for/ForJanet.html
>
> make sure your sound is on.
> best
> Michael
>
> =====
> http://www.somedancersandmusicians.com/
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> + Barbarians at the XOR-gate
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
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__________________________________________________
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Re: Rhizome's Book Club
Spent the last few months working my way through all
that's translated of Primo Levi (staggering writer,
staggering human being) )and WG Sebald
(Rings of Saturn and The Emigrants so far)
Sebald's an interesting one - he combines picture and
text in a strange way that for me at least has some
net type resonances.
I don't know how well he's known in the States but
he's definitely worth seeking out.
Michael
--- "t.whid" <twhid@mteww.com> wrote:
> i'm reading "The Way We Live Now" by Trollope
> (victorian writer) and
> I've just finished "Life On The Mississippi" (kinda
> boring) and
> "Huck. Finn"(totally flooring) by Twain. I read on
> the train
> generally. This is the first time in a long time
> that i've found time
> to read fiction.
>
> Of course these are all ebooks on my pda (can't go
> all the way back
> to analog ;-)
>
> >> I like books! Who is with me?
> >
>
> --
> <twhid>
> http://www.mteww.com
> </twhid>
> + the assholes playground
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
http://www.somedancersandmusicians.com/
__________________________________________________
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
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that's translated of Primo Levi (staggering writer,
staggering human being) )and WG Sebald
(Rings of Saturn and The Emigrants so far)
Sebald's an interesting one - he combines picture and
text in a strange way that for me at least has some
net type resonances.
I don't know how well he's known in the States but
he's definitely worth seeking out.
Michael
--- "t.whid" <twhid@mteww.com> wrote:
> i'm reading "The Way We Live Now" by Trollope
> (victorian writer) and
> I've just finished "Life On The Mississippi" (kinda
> boring) and
> "Huck. Finn"(totally flooring) by Twain. I read on
> the train
> generally. This is the first time in a long time
> that i've found time
> to read fiction.
>
> Of course these are all ebooks on my pda (can't go
> all the way back
> to analog ;-)
>
> >> I like books! Who is with me?
> >
>
> --
> <twhid>
> http://www.mteww.com
> </twhid>
> + the assholes playground
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
http://www.somedancersandmusicians.com/
__________________________________________________
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New DSL Internet Access from SBC & Yahoo!
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