patrick lichty
Works in Oak Park, Illinois United States of America

Patrick Lichty (b.1962) is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations between us and media. Venues in which Lichty has been involved with solo and collaborative works include the Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA).

He also works extensively with virtual worlds, including Second Life, and his work, both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews.

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What's Postinternet Got to do with Net Art?

And I LOVE people like Ben Vida who are mashing modular synthesis with digital processing. That's such a problem to explain when trying to frame the work in certain ways. Throw the wrench in the categorical works. Love it.


What's Postinternet Got to do with Net Art?

All good, up to - " Just because there's no buzzword doesn't mean people are flailing. "

My problem is that people seem to be endlessly coming up with buzzwords for things, as I said. I think we've turned into an interesting galaxy of techno-media arts, and the people who I think who are flailing are not the artists, but select individuals who insist on trying to quantify things in an increasingly plural set of practices. Mostly people on institutional panels who want to try to make umbrellas in a world where there're a lot of cells, but not a lot of centers. Again, maybe we're in a "long tail-ism" (poking fun at myself for criticizing those trying to categorize).

Diversity is a bitch to explain to the Board of Trustees or a collector. They like names.


What's Postinternet Got to do with Net Art?

Well, that may be true, but there were some good points made..."

Replace with:
"Well, that may be false, but there were some good points made...


What's Postinternet Got to do with Net Art?

Maybe this takes me back to Adorno and the idea that art should be somehow committed, especially in this age of atrocity. But have we instead climbed into Stimpy's belly button, where "fun awaits us if you climb inside..." Or is this the sort of movement that the culture of the Long Tail creates, 'snack' movements propagated by cliques that create conversation which are eventually discarded for not having enough 'there', ideology, rigor, or elsewhat? Or is this just the shape of 2013 epistemology?

I'm just throwing this out, because I feel like I honestly don't have a clue anymore. I'm not looking for a new Dada Soiree or a Futurist Manifesto, but honestly, I ask WTF? at times... I'd really love to see some people take some risks that aren't aimed at commenting on the art world, art fairs or Marina Abramovic (I'm just as guilty as anyone else here).

The most interesting thing I've seen lately was that idiot who flew their Phantom Quad-drone around Manhattan without being adept enough at flying it not to ram it repeatedly into the side of buildings to the point of destroying it.

Somehow, I just have this gut feeling that in the 'Post New Media' era, we're flailing around, looking for a signpost. The problem is, at the end of the Long Tail, there's pervasive production and plenty of Warhol's 15 minutes/15 fans to go around. All while Marina Abramovic and Jay-Z dance, causing Hyperallergic to say that if you aren't a superstar or making work about cats, you don't really matter (2013 most powerless in the art-world list). And, in my writing this critique I also add myself to that list. ;)

This is submitted as a proposition, and I could be completely off base, but it's just what it looks like. What I'm eating isn't very filling, and does that mean we are in the era of 'post-affect' too?

I don't know.


What's Postinternet Got to do with Net Art?

I'm finding all kinds of interesting tidbits in this thread - like looking at rings in a tree. Michael Connor was talking with me once about participating in an "inter-generational" conversation about these "things we do" (as Sarah Cook and Steve Dietz aptly put us in 'post New Media' times, and the Surfers put us in 'post Web 1.0' times, and now here is 'post-internet' after the New Aesthetic, which Curt Cloninger pretty much eliminated the 'new' from, and James Bridle even confessed that NA 'wasn't about aesthetics'.

Sure, I could be classified at a 90's OG who has reinvented constantly, but I sort of get tired of this. I find it sort of funny that Tom seems to have the appearance of a little intergenerational angst.

I have this as well philosophically with the shift from Poststructuralism to OOO/Speculative Reality and sensate/performance philosophy.

In many ways, I've begun to feel jaded, and it was articulated wonderfully when Ian Bogost wrote about the New Aesthetic, while claiming to be a 'movement' (SxSW), lacked an ideology, like the Futurists, Dadaists, and Situationists, and so on.

And with the recent conversation in which the panelist stated that there wasn't any significant net art before 2006. with the defense being, "Well, that may be true, but there were some good points made...", I'm left dully frustrated.

I mean, before 2000, there were not the number of academically-trained digital media artists or programs there are today. Furthermore, I don't think there was a 'good old days' where, in an Andy Hardy-esque way (hey that reference is even before MY time), where the kids got together and put on a show called New Media. But something was happening, and Lev, Mark, et al created some of the taxonomy. It just helps if you have a name to refer to when you have something that didn't exist before.

But in the last ten years or so, there seem to be this series of art-strategic moves where groups define quanta or 'movements' that seem to be more specific descriptions, local phenomena or epistemological branding for whatever reason, persona, institutional, or otherwise.

But I agree with Bogost in that there seems to be something missing. Not in the 'kids off my lawn' sort of way, but in the way where I feel like the stakes are too small to get that excited about. When they removed Clergyman and the Seashell from the Surrealist film program, Artaud came in with some friends and started busting heads.