Tom Moody
Since 2002
Works in New York, New York United States of America

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DISCUSSION

CREATIVE 2 PROFESSIONAL: 7 Things to Think About


Hi, Michael,
It's tempting to call this essay "7 Things in Search of a Stance"; what is your point exactly? Amateurism is bad? Prosumers are victims, and you, as a professional new media artist, are above all that?
It's fine if you want to inform us of some recent products that exploit creative hopefuls but what is the point of tracing this back to '70s rock and roll examples?
The Scott Halpin story fascinates because, for a brief glorious time, he had the skills to "step up" and substitute for Keith Moon. Townsend asked if anyone in the audience was good, not whether someone in the audience had a dream of playing with famous rockers.
The punk "three chord" example reacted to the professional excesses of progressive rock, with its symphonic scores and complicated time signatures. The punkers were saying anyone can do it, but as a means of promoting energy and angst in the face of irrelevant refinement. You still had to be "good" in your soulful rage.
None of this has any bearing on "no skills are necessary" phenomena such as paint-by-numbers or Beamz.
The Andrew Norman Wilson-style Olympian art view of pathetic little people "employed in the service of selling yet another product" exasperates.
An essay about how you (as artist) did something interesting with an amateur-aimed process might be more viable than creating this chain of non-causation.
Best, Tom

DISCUSSION

The Chambers Pavilion at The Wrong - New Digital Art Biennale


Great, and thanks to Furtherfield for spreading the word on this. I mentioned Rene's piece and stooped to self-plugging because I think Nate Hitchcock's post does a disservice to the range of Ludy's choices in the "Chamber" - she went out on a limb beyond the standard net art "room with eerie drones" and then Hitchcock pruned the presentation back to basically that (nice as these examples may be).

DISCUSSION

The Chambers Pavilion at The Wrong - New Digital Art Biennale


As an artist in this pavilion I would have hoped for a tad more critical commentary. Such as, how "Limelite Tab One Remix" injected some wacky "dump style" into the otherwise somber mood of the chambers you've depicted above. What was Sara Ludy thinking? (Thanks, Sara.) As mentioned in an earlier comment, artists have to do their own heavy lifting in terms of critical writing, so in that spirit, I posted some thoughts about the work of my co-chamberist, Rene Abythe: http://www.tommoody.us/archives/2013/11/06/rene-abythes-start-up-and-shutdown-sequence/

DISCUSSION

What's Postinternet Got to do with Net Art?


^actual core similarities in people's methods

DISCUSSION

What's Postinternet Got to do with Net Art?


On our panel in 2008 the NYC art gallerist Magda Sawon was in the audience and after listening to Petra Cortright, Damon Zucconi, and yrs truly talk about our work and what was happening on the group blogs she said, "I don't see anything new here, it's just the collage and the found object."
More than terminology, we need people who can see a bit more perceptively and help artists with the hard work of evaluating what's going on in these "cell" activities. This means learning more about people's processes in order to make distinctions between, say, found art and made art, between art and what Paul B. Davis called "instrument building," and between a "look" (such as what Bridle mashed together) and actual core similarities people's methods.
There's much to be done, and artists will continue to run the fork lifts and keep the bridges trussed while postindustrial panelists spin new unhelpful names for the infrastructure.