patrick lichty
Since the beginning
Works in Chicago, Illinois United States of America

Patrick Lichty is a digital intermedia artist, writer, and independent curator of over 15 years whose work comments upon the impact of technology on society and how it shapes the perception of the world around us. He works in diverse technological media, including activism, printmaking, kinetics, video, generative music, and neon. He is Editor-in Chief of Intelligent Agent, an electronic arts/culture journal, part of the activist group The Yes Men, and operates IALA Gallery in Baton Rogue, Louisiana.
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Wikipedia Art

Hey, all.
Good conversation.
I'm not offended at all at Tom's mock outrage at my mock outrage, or the other criticisms of the project.
After the fact, I'm very honest that it was an intervetnion; sometimes I think that Scott and Nathaniel actually thought it might have had some time to survive. I didn't. Nor did I believe that my protestations and breast thumping give me any more hope. It was texture, as was the demonization of it was here.

Creating the gesture created the fait accompli that it was an event. It's a performance, sure - again, was there any real doubt of this? The idea that somehow the Rhizome community demands full disclosure while the fight went on merely said that others were merely taking positions while we were. Not that interesting, and for anyone with any knowledge of Tactical Media, pretty predictable, and near machinic. Anyone with a little experience could see the conversation unfolding like a script. Mock outrage, indeed...

I think what was most interesting were the dramatis personae on the Wikipedia side, and the arcane bylaws that we saw while going through the event,, like the "Snowball" and "Don't Feed the Trolls" rules. Crazy stuff. Not to mention the 18 year old, the Deletionists versus the Inclusionists, and so on. It's nearly Steampunk. It reinforced my belief in disallowing WP as no more than a tertiary source, for sure.

I also think that the "gestures' being thrown around (here and there) were largely cynical ones, until we got to the underbelly of the beast. When the honest reactions started happening, I think that's where the real art happened.

Interesting. Really interesting.


WikiPedia as Art?

On WIKI as Art

On Valentine's Day 2009, Scott Kildall and Nathaniel Stern launched the Wikipedia art page, which resonated with the history of media art, authorship, and media formalism on many levels. Has this particular piece updated Beuys' admonition of the openness of art? Not only that, does art based on open Web 2.0 standards like the Wiki define art that is a palimpsest by definition? What is interesting yet disturbing about this is not only the obliteration of discrete authorship, but the total indeterminacy of intellectual ownership whatsoever.

For example, what happens when the conceptual work of art is left open, such as Douglas Davis “World's First Collaborative Sentence”, but is allowed to be opened to anyone, without “gatekeeping”, and the work is open to repetitive writing and re-writing to the point where it is possible that the only remnant is the gesture itself. I'm sure that Kildall & Stern, and their initial collaborators will be documented as the progenitor of the form, but the destination of the vector is by no means assured.

This is very similar to Andrew Keen's complaints of Wikipedia as being an unreasonable request upon internet society to create cultural foundations (encyclopedias, art media, etc) without compensation, thus devaluing production. However, is this devaluing of production an Achilles' Heel of cultural production and economics in the digital age including the proposed “Web 3.0” in which producers meet and produce for one another for free under the aegis of the provider, signifying the ongoing “race to the bottom” or concentration of wealth? Is it a byproduct of the hypercapitalistic devaluation of goods and services, or an updating of the conceptual work of art? In the online work of art, there is a gravity that remains with the author, even in the piece of net art, but in Wikimedia/Wikipedia art, the work becomes solely a locus initiated by agents, and left for intervention.

But again, left as a discursive Web 2.0 Exquisite Corpse, each visitor invited to complete the work, what becomes of it? I have recently been considering in terms of threads and moment of translation, such as my text on Duchamp->Hamilton->Ascott (Dada to Pop to New Media), and links involving Abramovic->Abramovic 2005-> Mattes ->Second Front (disembodiment/decontextualization of performance art), Wikipedia art creates its own arc of representation. One could say it roots on elements of chance, also with the free association fo the Surrealists, but with the dematerialization of Conceptualism, and the anonymity of elements of Web 2.0. We could possibly draw the epistemic arc of Wikipedia Art as Breton ->Klein/Manzoni or Debord or Cage/Fluxus->Davis->Kildall/Stern. However, as the inception of the genre is minutes old at time of this writing, my speculation is of the highest order.

Therefore I ask, whether Wiki can be made as art... However, as a writer who is about to write a chapter in a book on distributed narratives, my position is that it can, but its indeterminacy makes it largely conceptual, and slippery at best, making it a strong relative of networked conceptualism or highly formal online media art. It will be interesting to see if it does, in fact become a genre, and what form it will take. But I hope this winds up in the Wiki, and you can have your way with it as you will.


Intelligent Agent Issue 9.1 Call

Sun Mar 01, 2009 00:00

Intelligent Agent Magazine Issue 9.1:
Art in Virtual Worlds & The Age of “All at Once”
Since the turn of the millennium, an increasing amount of effort has been placed in the exploration of art in virtual worlds from first-person shooters to Massively Multiuplayer Online Roleplaying Games like World of Warcraft and worlds such as Opensim and Second Life. Even in the last year, Artists like Cao Fei and Stephanie Rothenberg have exhibited Second Life works in the Venice Bienniale and Sundance New Horizons, to name a few. Why are virtual worlds a “hot” medium for contemporary art? What issues are being evoked by the coming of these online agoras, and are they redefining the cultural functions of art?

The art world, as mentioned by painter Jay Van Buren, is “everywhere, all at once”. In addition, the coming of the global economic downturn has caused groups like NYC-based to ask the community what will become of the foundering art world in the post-boom landscape. Are we just now sets of web 2.0-baed “surf clubs” as Olson et al have suggested, and are groups like Paperrad, the Cute Show, and NastyNetsemblematic of the time? Has culture become a truly flat, rhzomatic playing field with no central dialogues, has it become cellular, or is the culture of non-direction created an era of indistinctness, where the cultural impact of a Youtube video may rival that of a Murakami? Are Lolcats and Weezer's “Pork and Beans” as indicative of contemporary culture as a Murakami panel?

Scholarly texts, essays, artist's works and missives are welcomed.

Deadline for proposals: Mar. 1

Deadline: Apr. 15

About Intelligent Agent:
Intelligent Agent is a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies for production and presentation. Through its online magazine and programs, Intelligent Agent provides a platform of critical discourse for discussing issues relevant to digital media, their social and cultural impact, and the parameter shifts they have brought about for the arts.

Publisher: Christiane Paul, Adjunct Curator of Digital Art, Whitney Museum of American Art, NYC
Editor-in-Chief: Patrick Lichty, Assistant Professor, Interactive Arts & Media, Columbia College Chicago


Spire Reloaded: Patrick Lichty

Fri Oct 10, 2008 00:00 - Thu Oct 02, 2008

United States of America

Friday, October 10, 2008 - 6:00pm - Saturday, November 8, 2008 - 5:00pm
Spire Reloaded: Patrick Lichty

Opening Friday October 10, 2008 from 6pm-10pm
october 10 - november 8

Also come to a special art opening online at in the "I AM COLUMBIA" island showcasing one of Patrick's virtual sculptures. Check web site for details.
"For a long time, I have been fascinated with "obsolete spaces", or places that have fallen into disuse or been destroyed for the same reason. This includes the Hulett Ore Loaders near Cleveland, the Adak Naval base in Alaska, and now the recently dismantled Berwyn Spire. These represent the loss of certain parts of American identity in a society that is obsessed with the "new".

For this series, I documented the piece in the last year of its existence, and also made an interpretation of it in the 3D online world, Second Life. I did this as I feel that the Spire only exists in memory and our cultural databanks now, and I felt that by having a virtual version to contrast with the actual one was a fitting tribute to this iconic piece of Americana."

Patrick Lichty (b. 1962, Akron, Ohio) was born into a family with a long involvement in and support of the arts. His mother, a exhibiting artist of numerous art and craft media, immersed him in textiles, painting, ceramics, print and other techniques during his upbringing. Simultaneously he was also exposed to technology in the form of the emerging genres of electronics, video games, and later personal computing when his parents bought him an Atari 800 computer in 1978. Instead of following the desires of many adolescents of the late 70's in wanting to program the next Pac-Man or Space Invaders, he was interested in drawing and creating music with his personal computer.


Now the Right Wing has gone TOO FAR|!|

24 July 2008

CONTACT: Tim Bullier


Minuteman Project to Second Front; Resign now!

Los Angeles, CA - Jim Gilchrist the founder and president of the Minuteman
Project announced today that thousands of Minutemen from across the country
are planning a march on Second Life, demanding that Second Front resign
over their pro griefing policy that lead to the aggravation
of Sanbot Ichikawa, 6 mos, and his sons Michael, 3 mos, and Matthew, 4 mos. at the hands
of 2 year old gang griefer Chaos Semanowa. The family was attacked near their home when Sanbot Ichikawa,
teleporting home from a dance party, briefly blocked the griefer's view when entering the Sexyland sim.
The griefer Chaos Semanowa benefited directly from the city's long-standing practice of protecting
griefers from expulsion from the Grid.

"The Minuteman Project offers our deepest condolences to Starfinder Ichikawa.
The aggravation of her husband and two sons at the hands of a
Griefer is reprehensible," said MMP founder and president Jim

The Minuteman Project is sending a clear message to Second Front:

"You reap what you sow." However in this case, Starfinder Ichikawa has reaped
what you, Second Front, and the Odyssey Admins have sown.

The failed Anti-griefing in Odyssey has endangered not only the
user experience of good citizens but has cast Second Front as a dangerous
rogue group. A path that places families into harm