Plasma Studii
Since the beginning
Works in New York United States of America

PORTFOLIO (8)
BIO
judsoN = computer artist for shows internationally on stages, galleries and the web, and the Artistic Director of Plasma Studii, a non-profit arts organization in New York. His goal is to use technology as a tool to fuse arbitrary distinctions in art, such as dance and sculpture, color and sound frequencies, stages and web sites. His live interactive pieces appear in such venues as plays in circus tents across Europe, installations for places like the Arts Council of Mildura, Australia, on web sites at ISCAM (in Istanbul) and cTheory for Cornell University (twice). His artwork published in books (US, Europe, South America) and on CD-Roms worldwide. Studied choreography under Doug Elkins, music composition with a student of Stockhausen.
Discussions (278) Opportunities (1) Events (3) Jobs (0)
DISCUSSION

Re: what if and tid bits i cry to much


> let me just ask, since theory is essentially an impractical and
>lofty excersize, unconcerned with
>reality, [remember, theory is where artists do art as "responses" to
>other art!]

what's to remember? i never thought that in the first place, but
your point is still the same.

>doesn't it make sense that we at the
>very least use all this brain power towards idealistic ends? I mean
>while we're all busy building imaginary constructs
>why not make them pretty and have all the dead come back to life
>when we're done?

>bi bim bap,
>[is that really it? I'm thinking of a korean dish, lettuce, rice and
>tofu with a spicy sauce? Anyone know?]

yup, though i have no idea how to spell it. think it's anglicized "bibim bop".

>but if I
>am going to spend my life in make believe, I'm not going to worry
>about what Baudrillard has to say about the
>impossibility of sincerity because I can just be in aggressive
>denial and that means he is wrong. I mean, and that's
>if you agree with him.

I agree with you a lot more. In fact, I probably wouldn't shoot YOU.

I totally agree that IN THEORY, if one denies what they experience
than why not at least make whatever we replace it with as ideal as
imaginable. But then the electric bill comes and eventually they
turn off your gas or you get hungry and have to change that flat
tire, so you can get to the nearest store. That's stuff idealism
doesn't cover.

>Well, the mittens aren't my idea actually; they're the work of an
>art school girl I met a few years ago and never
>kept in touch with but I did always love the project. And I think
>the people who get bored with this stuff are
>artists, "the cultured"

i think a lot of plumbers and garbage collectors would actually. the
"cultured" artists would get excited.

>and that makes sense and is probably fine, someone's gotta be
>holding the door for progress,

i doubt you'd disagree but that word "progress" is sure relative.

>I suppose. But I can't help but think that even in "progressive art"
>there is a movement towards this idea of
>all the world as art with or without anyone saying so. You see every
>"progressive" movement basically widening
>the definitions of art-

which is really why i am suspicious of "progress". i say narrow the
definition. it's so wide it's gotten silly. Make art difficult
again! Enough of thought-prevoking art, we gave it a shot for half a
century but it's still just ugly. i wanna feel moved. If anybody
wants to think, they can buy a book.

> how about we call a spade a spade, and just let it go?

cool by me, but then that's where we diverge. It'd be hard for the
big museums to get funding to pay their staff (and the folks who are
writing those applications) for the promotion of "neat stuff". You
might say "screw the museums, let em go belly up" but there's a lot
of people who are hustling double time to keep that from happening
just yet. Buying time while they try to make that transition.
People both directly (museum staff) and indirectly (tenured art prof
at some college in the sticks).

They'd have to come up with a better word to replace "art"
everywhere. And then by doing so we are just back to square one but
now "ixhjewfb" has the ridiculously wide definition.

>Maybe it gets boring, I don't know.
>It's not like after Fluxus no one did still life anymore.

i say dump "Fluxus" too. dump any definitions of art movements even
before dumping the word "art". Historians can refer to dates.
Dividing painting (to use the example from this conversation) from
computer art is useless. Someone recently tried to tell me that
manipulating high speed frequencies (color) is a different genre than
that of low speed ones (sound). People are fencing themselves in
behind their own imaginary barricades.

>Somebody lost mittens, somebody makes a piece of universally
>appreciated art, what's the difference? And yes, I'm serious.

thank goodness. Because I am with you on that one.

But since "universally appreciated" is more theoretical, I would
answer there is no difference. so either the mittens or the art
better demonstrate some unique skill to (perhaps even have character)

judson

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003

DISCUSSION

Re: what if and tid bits i cry to much


More "howdies" to all,

I really dig what Eryk has been saying. The idea that
(super-simplified for brevity) East - depiction is the incorporation
of the beauty of object, West - the depiction itself is where the
beauty lies, Salvaggio Museum - isn't the object itself beautiful,
regardless of depiction. And even though I always like his points,
we always disagree because he seems to be describing the way things
could work ideally and I'm saying that's just never what ends up
happening. Two camps.

For example, the mittens. He may really dig those lost-found
mittens. And it makes sense why even. But it just ends up most of
us get bored. Somebody lost some gloves. Oh well. Cool that he can
be so enthusiastic and probably we can all learn from his example but
there are 20 other factors to contend with. I PERSONALLY, may not
like the mittens but he's allowing folks to approach them from a
variety of angles. So, in the end, as art, it still seems
worthwhile. I may not buy tickets but would encourage others who
might like the mittens to.

But MAYBE we are all talking about context. MAYBE context is
something Kate gets from a select culture, for Eryk, context seems to
have no bearing on the value of the object and I see the object is
only meaningful if it excels in more than one context. Maybe.
Though off-hand we probably see the value in all 3, we are really
only interested in pursuing one.

judson

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003

DISCUSSION

Re: what if and tid bits i cry to much


>tools

HOWDY! Kate and other Rhizoids,

Kate, I think we just fundamentally disagree then. But I see
disagreement as a good thing. (unlike Nazis, the FBI and several
Texans with shotguns) But here's why...

This brings us back to what I was saying originally in reply to the
"I'm dead" post. That one measure of the quality of a work is that
you can approach it from more angles. Marc's take was entirely
different than mine but that's the cool part. That's what made it
interesting to read/respond to.

So much by us computer geeks, really only appeals to like-minded
computer geeks. plenty of art (esp in the last 50 yrs) really only
works under one standard (no matter which standard that is, none is
superior) and communicates nothing or disappointment to all but a
select audience. That, to me, is the stuff that didn't work, that we
can discard and try something else.

I love Cocteau flicks but have no interest in finding out about the
guy or learning where he's coming from. I'm sure someone could
analyze the heck out of them but to me it's more exciting to see them
as inexplicable images that come out of some guy's head. What I
personally like though is really of very little importance, but how
many very specific things are there for very different people to like
is important. The act of observing itself, alters that object
observed (a sub-atomic phenomenon, hit it with a photon and it
reacts); we can ONLY see by avoiding seeing too closely.

True of jokes (which is why I like em so much) and why analyses of
Duchamp means somebody missed it. The guy stuck a toilet in an art
show. That's funny. End of story. We can embellish it all we want
with theory but those are OUR additions. This was one joke by a funny
guy. He wasn't ALWAYS joking but he certainly wasn't ALWAYS so
serious. (muserna wisely suggests butt wiggling)

judson

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003

DISCUSSION

Re: what if and tid bits i cry to much


Sorry. But this attitude is just too wonderful to ignore.

>I believe painting to be an obsolete art form.

Aww, sorry that was the buzzer.

Saw a (play? dance?) at a pretty hip theater (La Mama) a while ago
In it, one character was not made from technologically relevant
materials. In point of fact, it was a stick. Had I a chart of all
the obsolete ways to make things, to refer to at the time, I could
have saved myself an hour of enduring entertainment which I would
otherwise have known had no relevance to the contemporary world.

>main frames of reference are informed by residual ideologies

Being "informed" can be a real bargain and a time-saver to boot!
Being informed actually depends entirely on who you are informed by,
but we generally mean buying prepackaged sets of ideas in bulk
(generally available from schools, major galleries and other fine
institutions). Buying ideas in bulk sets, rather than having to hunt
them down, one at a time for yourself save both time and money!

>The contemporary world seems to make sense when we relinquish the solid.

She's absolutely right and I feel exactly the same way, every time I
take a dump.

judson

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003

DISCUSSION

Re: what if and tid bits i cry to much


The markings for the posts and replies get mixed up, so I am going to
try to just re-do em for clarity.

> >> I believe painting to be an obsolete art form.
> >
> > Aww, sorry that was the buzzer.
>
>Awww, come on. Take it in the spirit its intended, and within the context it
>was written.
>
> > Saw a (play? dance?) at a pretty hip theater (La Mama) a while ago
> > In it, one character was not made from technologically relevant
> > materials. In point of fact, it was a stick.
>
>so are you reading something significant into this?

Just that there are works (and in competitive places) that have
absolutely nothing to do with technology. They don't use modern
tools and they don't refer to the use of modern tools.

The idea that the tools have absolutely no bearing on the
effectiveness of communication. Seems absurd to even consider there
is a time when painting has more or less to say than at other times,
as if painting (a tool) had anything at all to do with the delivery.
Artist use tools to "talk". The tools don't talk.

Could just as well be a chunk of wood someone found after a storm, or
a computer program. Whatever inspired the artist to lend form to
some message. All artist are inspired by different tools at
different times. There is no rule about better or worse tools that
applies to all.

Modern art is so bad, we need help anywhere we can get it. Why
eliminate the artists who just like to paint and don't want
computers. To many, a computer = boring job. Some would rather
paint.

judson

~~~~~~~~~~~~~~~~~~~~~~~~~~

PLASMA STUDII
http://plasmastudii.org
223 E 10th Street
PMB 130
New York, NY 10003