Rob Myers
Since 2003
Works in United States of America

ARTBASE (3)
PORTFOLIO (2)
BIO
Rob Myers is an artist and hacker based in the UK.

I have been creating images of the contemporary social and cultural environment through programming, design software and visual remixing since the early 1990s. My work is influenced by popular culture and high art in equal measures. My interest in remixing and sampling has led to my involvement in the Free Culture movement. I have been involved in the public consultation regarding the Creative Commons 2.0 and CC-UK licenses. All my visual art is available under a Creative Commons license.

My interest in programming has led to my involvement with the Free Software movement. I developed the Macintosh version of the Gwydion Dylan programming language compiler. All my software is available under the GNU GPL.
Discussions (509) Opportunities (1) Events (0) Jobs (0)
DISCUSSION

Summer Reading Suggestions


Relational Aesthetics is good for making sense of contemporary art.

And in no particular order:

"Sweet Dreams" by Joanna Brucker
"Free Software, Free Society" by Richard Stallman
"Censoring Culture" by Atkins et al
"Free Culture" by Lawrence Lessig
"The Laws Of Cool" by Alan Liu
"Essays On Art & Language" by Charles Harrison
"OurSpace" by Christine Harold
"Collecting Contemporary Art" by Louisa Buck
"Rhythm Science" DJ Spooky/Paul Miller
"Purple Cow" by Seth Goodin
"The Dedalus Book Of Absinthe" by Phil Baker

DISCUSSION

Video of Futures of the Internet Panel


Good post. No comments allowed though, so...

I moved off Mac a while ago and now use Ubuntu GNU/Linux. The software is more than good enough to do what I want to. People can install it on their Macs if they want, I was using an old iBook originally. Using Free Software is a very easy way of being progressive.

Sharky's comment about economics is the usual marketarian dogma, it's just useful idiocy for corporatism. His comment that there's no community around OLPC is also true for Windows software in third world schools. And quite how Windows will generate or leverage more social capital than OLPC I don't know, it's a bizarre claim to level against OLPC.

I'm finally reading Liu's "Laws of Cool", its thesis seems relevant to this.

DISCUSSION

Video of Futures of the Internet Panel


This web interface is killing the conversation for starters. It's soooo much effort to log in just to respond to an email.

DISCUSSION

Copyright, Artists and Continentalism


I don't think it's a US/EU split. Wikipedia, Linux, The Open Clip Art Library and other non-art projects are supported both in the US and the EU as part of very different economies.

In my experience artists just don't support copyleft. I've no idea why not. I would honestly be interested to hear from artists why they don't.

I once spoke to an artist who almost got funding for a show pulled because of rights issues with some found video material she was using. I suggested they copyleft their own video work to prevent anyone else suffering the same problem. They just couldn't understand the comparison.

Even when artists do try copyleft they usually break it by adding the NonCommercial restriction to Creative Commons's ShareAlike licence. (See Negativland for why NC is bad: http://negativland.com/riaa/tenets.html).

DISCUSSION

Brush-off


I am not "nit picking".

The scale is unimportant. Pop blows things up, that was 1/3 of Warhol's toolbox. Nesbitt's imagery and apparent technique were my point of reference, not the scale of his work. Nesbitt's moonshot paintings are more relevant to Proops's work because they deal with the image-making potential of technology and how that relates to society.

If "computer envy" is the only link between Proops and Nesbitt's work it is a very, very weak concept. I am not trying to misdescribe it as digital imagery; I wrote that Nesbitt does not paint digital imagery (...where Proops does) in order to point out the problem with the concept of "computer envy" for describing anything useful that links the work.

Painting provides a different point of reference when considering digital imagery (or if, we must get confused, the hardware and software and associated cultural imagery of computing machinery) pace Relational Aesthetics (the book) or Art & Language (post-1980) or Joy Garnett or... I'm sure there are painters who are unreflectively trying to produce what will sell to our new media overlords, and in contrast I know there is good reflexive computer art, but there's also a tradition of critical distance in art and art criticism that doesn't confuse technics with subject matter.