Pall Thayer
Since the beginning
Works in Greenwich, Connecticut United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Pall Thayer is an artist.

http://pallthayer.dyndns.org
Discussions (773) Opportunities (2) Events (4) Jobs (0)
DISCUSSION

Re: Some random thoughts on the state of the art...


On the contrary, I feel that netart and computer based art in general is
veering more towards the pure manipulation of arbitrary data. The data is
there, let's see if we can capture it and make it do something other than
what it was meant to do as in Carnivore, Gogolchat and others. There aren't
that many yet but the ones that are emerging seem to be coming in as an
important force and it seems a reasonable way to go.

That's my two cents.

Pall
--
Pall Thayer
kennari/myndlistamadhur
artist/teacher
Fjolbrautaskolinn vid Armula (www.fa.is)
http://www.this.is/pallit
http://www.this.is/pallit/isjs
http://www.this.is/pallit/harmony

----- Original Message -----
From: "Mark River" <mriver102@yahoo.com>
To: <list@rhizome.org>
Sent: Friday, January 10, 2003 4:21 PM
Subject: RHIZOME_RAW: Some random thoughts on the state of the art...

> Some random thoughts on the state of the art...
>
> 1. I've noticed a recent increase in the use image and
> video manipulation over text and vector graphics
> within net art. Although some have used image as a
> main tool for some time (Brad Brace comes to mind) a
> form of realism seems to be on the rise. Reasons?
> Perhaps digital cameras becoming common, more access
> to broadband, better software, or the change in
> political climate.
>
> 2. Along or against this trend, new works are being
> made using what Cory Archangel may have coined "Dirt
> Style Design" or Low-Fi net art. These works look back
> to the "Heroic Period" of Net.art as well as the pop
> home pages of the net. Think Hampster Dance (circa
> 1997) meets one38.org. Reasons? Who knows? Maybe it's
> the same reasons as in thought 1.
>
> 3. When looking at net art as well as art in general
> of late, I've been trying to use the American movie
> rating system. Not as a quality judgement but as
> another way to look at content. "G" and "PG" seem to
> be the ratings of the time. I am looking for an
> interesting PG-13 or up. Other people have pointed out
> to me that using movie ratings to look at visual art
> is like comparing apples to oranges but it has been a
> good exercise for me.
>
> The reason for the post is that for the last year or
> so I have felt net art has been in a holding pattern.
> Great art works are being made and attention is
> finally being given, but I miss the time of
> experimentation. Thoughts 1,2 and 3 have let me know
> that net art might change again as all art can.
>
> Anyway, that's it for now. Send back hate mail as I
> know you like to do. ;)
>
> =====
> http://mteww.com
> http://tinjail.com
>
> __________________________________________________
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DISCUSSION

new work in progress


Here is a small prototype/'sketch' of a new project I'm working on. If you =
try it, please let me know how it works out for you. It requires Flashplaye=
r 6

http://130.208.220.190/panse

Pall
--
Pall Thayer
kennari/myndlistamadhur
artist/teacher
Fjolbrautaskolinn vid Armula (www.fa.is)
http://www.this.is/pallit
http://www.this.is/pallit/isjs
http://www.this.is/pallit/harmony

DISCUSSION

Re: audio software question


Most of the higher-end programs provide multi-tracking as well as extensive=
audio editing tools; Logic Audio, Cubase, ProTools.

Pall

--
Pall Thayer
kennari/myndlistamadhur
artist/teacher
Fjolbrautaskolinn vid Armula (www.fa.is)
http://www.this.is/pallit
http://www.this.is/pallit/isjs
http://www.this.is/pallit/harmony

----- Original Message -----
From: Jim Andrews
To: Director_Art ; List@Rhizome. Org ; Webartery@Yahoogroups. Com
Sent: Monday, January 06, 2003 3:12 PM
Subject: RHIZOME_RAW: audio software question

a question to the people using audio software.

currently i use two programs, predominantly, for creating and editing aud=
io: sound forge and cakewalk (and acid occassionally).

it would be nice to use just one.

i use two because sound forge is a great editor of single sounds and cake=
walk isn't; and cakewalk is a great multi-track mixing device whereas sound=
forge isn't.

any programs out there that combine the two functions into one environmen=
t?

ja
recently: www.webartery.com/audio/stardust.htm
www.vispo.com

DISCUSSION

Re: Free Space Comix: The Blog


My artwork is lonely. Make beautiful new year harmony:
http://www.this.is/pallit/isjs
http://www.this.is/pallit/harmony

Happy New Year everyone. Thanks to everyone I've had the pleasure to
communicate with and I hope it will continue into the years to come.

Pall Thayer

----- Original Message -----
From: "Brian Stefans [arras.net]" <bstefans@earthlink.net>
To: "Stefans, Brian" <BStefans@gc.cuny.edu>
Sent: Tuesday, December 31, 2002 9:29 AM
Subject: RHIZOME_RAW: Free Space Comix: The Blog

>
> My blog's lonely... love my blog... happy new year!
>
>
> BRAND NEW on the blog:
>
> Suzanne Dathe, Grenoble, France - Can We Win? (On Carol Mirakove's Poetry)
> http://www.arras.net/weblog/
>
>
> BRAND OLD on the blog:
>
> Tim Davis, Dailies (longish review from Tripwire)
> http://www.arras.net/weblog/000019.html
>
> Further Adventures of Michey Mouse (on the Vaneigem series and the New
York
> Times)
> http://www.arras.net/weblog/000030.html
>
> And then went down to the blog... (Poetry Project column on internet
poetry)
> http://www.arras.net/weblog/000035.html
>
> BKS and Alan Licht .mp3 at ubu.com (introduction)
> http://www.arras.net/weblog/000037.html
>
> Border Comedies (spontaneous thinking)
> http://www.arras.net/weblog/000038.html
>
> /ubu is live!!! (introduction)
> http://www.arras.net/weblog/000039.html
>
> /ubu is live!!! part deux (individual introductions)
> http://www.arras.net/weblog/000041.html
>
> Alice Notley, Disobedience (from the Boston Review)
> http://www.arras.net/weblog/000042.html
>
> It Turns Out I Don't Mention Your Name In Them, But The Woman In Them Is
You
> (poems)
> http://www.arras.net/weblog/000043.html
>
>
> ____
>
> A R R A S: new media poetry and poetics
> http://www.arras.net
>
> Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie!
>
> "Do you think just because I come from Carronshore I cannot fight? I shall
> hit you over the head with a cold potatoe."
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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

DISCUSSION

Re: Digital Ponderings


This isn't really something I sat down and decided to figure out. It's more
something that I feel has become increasingly appearant to me in my own work
and the number side of this sort of work is the truly moldable feature
that's unique to the medium. When you become aware of it, everything becomes
like clay and you can turn it into whatever you want. Flip it inside out,
upside down, turn sound into imagery but not in a way that the imagery is
truly representative of the sound except for within some sort of algorithm
that is used in the transformation. Kandinsky attempted to create some sort
of definition of imagery in relation to music on some shaky spiritual level.
I can however point out the relation in indisputable terms. And then I can
make a new piece where the relationship is entirely different but equally
true and indisputable.

> But having identified the fundamental material, then what? The bigger
question
> for me is what gives manipulations of these materials a value beyond the
> selfish expressive enjoyment of the artist?

I don't know. That's the thing. This is an aspect of digital art that hasn't
really been discussed, at least not to my knowledge. But actually, I think
what's even more interesting is, where are the numbers coming from? What's
being used to generate the numbers? It can be all sorts of user input or
random generation or some specific system created by the artist or a mixture
of several methods and once that's established we can be concerned with how
the manipulation and the input relate and deduce some sort of value from
that. It's expressive yet abstract. I get shivers down my spine just
thinking about it.

I think it's like the renaissance, when painting was supposed to become
mathematical like music but then they figured out that it wasn't that great
an idea after all. But with digital mediums art IS becoming mathematical and
instead of making it sterile and plain it can lead (for instance) to an
abstract form that some of the pioneers of abstract art would have drooled
over. The artists using those mediums just have to be aware of that aspect
of them.

Pall

----- Original Message -----
From: <young@newzoid.com>
To: <list@rhizome.org>
Sent: Wednesday, December 18, 2002 8:30 AM
Subject: Re: RHIZOME_RAW: Digital Ponderings

> ----- Original Message -----
> From: Pall Thayer <mailto:pall@fa.is>
> To: list@rhizome.org
> Sent: Wednesday, December 18, 2002 12:17 PM
> Subject: RHIZOME_RAW: Digital Ponderings
>
> Thayer: See if you can come up with a fundamental, basic element that is
the
> essence of digital mediums and what it has to do with the artistic value
of the
> mediums.
>
> Young: This is well worth pondering. But the second part of the question
goes
> deeper than the first part. It is possible to say that an art form is
"about"
> its fundamental material (or some basic aspect of the fundamental
material.) So
> painting is about color, ceramics is about clay, literature is about words
and
> digital art is about these infinitely malleable mathematical units to
which
> everything we transmit in digital form can be reduced.
>
> But having identified the fundamental material, then what? The bigger
question
> for me is what gives manipulations of these materials a value beyond the
> selfish expressive enjoyment of the artist? The digital raw material
will, by
> its very nature, be reflective of human activity, so the question is
really one
> of "added value." What has the artist added to the raw material that gives
the
> work depth and enlarged meaning?
>
> In short, the most interesting question for me is how to identify, from
among
> the vast number of manipulations of digital material, those that are
worthy of
> the serious and enduring attention given to recognized artworks of the
past.
>
> I share your interest in seeing all these matters discussed on the Rhizome
> list. In my opinion there is far too much raw ego display and too little
> serious discussion of subjects that ought to be of interest to artists
working
> in a new area of art. It seems that the supply of art is more abundant
than the
> supply of reasoned discussion about it. I note that a time-tested measure
of
> value is the relative abundance or scarcity of an item.
>
> Daniel Young
> young@newzoid.com
> + ti esrever dna ti pilf nwod gniht ym tup
> -> 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