Re: FLUXLIST: artistic community experiment
As a writer, I find the idea fascinating, but I just have to ask how are the members making money? --- George Free [EMAIL PROTECTED] wrote: The art may not be that good, but the community web tech is cool, I think. http://www.kuro5hin.org/?op=displaystory;sid=2000/9/19/2458/13427 collective art (Media) Posted by luap on Tue Sep 19th, 2000 at 09:27:27 AM EST I've begun an experiment in my free time. I want to see if I can create an online artistic community with people posting their own works as well as commenting on others, sort of a method for writers/poets to get their word out and maybe even make money bypassing the publisher. Can it be done? Will the produced fiction/art be more/less real? I haven't really seen the 'slashdot' for literature out there yet. Instead of using one of the OS solutions out there for community type sites, I've decided to program my own (php4 w/MySQL backend.) I'll be honest with you, though, in that I'm an English/Journalism major, a poet at heart. I've been fascinated with the web since '95 or so, recently delving into scripting with PERL and php. (Creating art, but in another language, that of the computer.) So... I guess I'm just looking for feedback on the concept and execution of open source literature. Thoughts/Suggestions/Comments appreciated... == "When the last human has died, trees shall cover the earth." "Man is the dream of the dolphin." _ Get premier, free, fast, 6Mb web-based email at --- http://www.nabou.com
Re: FLUXLIST: Tired?
I'm just curious why anyone would say fluxus is dead. Seems to me, no art form ever dies. Maybe this list has been not up to your standards lately in terms of the discussion, but that happens to all lists. They go through lulls and swoops... sometimes they are animated, sometimes they are filled and full of discussion. I am personally involved in about six lists, and I find that they all do this... I have not been a member of fluxlist for very long, nor do I know a lot about fluxus, but I do think that saying fluxus is dead seems like an overreaction... In my mind, fluxus is art- art is life. You can never say fluxus is dead, as long as one soul lives... life begets art, art begets life. They are a symbiotic pair... ~David Streever, chiming in with my two cents == "When the last human has died, trees shall cover the earth." "Man is the dream of the dolphin." _ Get premier, free, fast, 6Mb web-based email at --- http://www.nabou.com
FLUXLIST: Alison Knowles Opens Oct 5, 6-8pm
Emily Harvey GalleryPress Release 537 Broadway at Spring New York, NY 10012 September 16, 2000 Tel. 212 925-7651 Fax 212 966-0439 Alison Knowles: Footnotes objects, prints, illuminations, and exploded page works from the travel journal, Footnotes, published by Granary Books, New York City, 2000. October 5 through October 28, 2000 Tues-Sat, 11:00 - 6:00 Reception for artist: Thurs. Oct.5th, 6:00-8:00 Emily Harvey Gallery will present Footnotes, an exhibition of new work by Fluxus artist Alison Knowles. This body of work reveals a range of innovations through combinations of objects, texts and unusual art materials. Conceived as an environment, the different components of the exhibit are based upon experiments regarding the nature of the page and the meaning of what a book can be. The pieces reflect Knowles' instinct to note everyday events and continually re-examine those experiences, regardless of chronology and linear thinking. Her work is faithful to life experience and the nature of the materials. Large panels extending from the ceiling and walls are page like in their structure, containing various embedded elements and incorporating projections on a grand scale. Some pieces may be explored by gallery visitors through touch. Silkscreen and Palladium prints, as well as cyanotype reflect Knowles' mastery of printmaking. The impetus for "Footnotes" is a lifelong continua of global travel, from which the artist has literally "picked up" things and created annotated journals. The concept of footnotes therefore is a means of referencing and reorganizing those travels, transferring the literary device into visual forms. Well-known for her experimental performances and installations from the early 60s in association with Fluxus movement, and by her affiliation with Something Else Press, Knowles has continually investigated the form and content of books. Examples of her previous works include the monumentally scaled Big Book from l967 and a "walk-in" object The Book of Bean from l983 which was exhibited in the Venice Biennale in l990. In coordination with the exhibition, Granary Books is publishing Knowles's book Footnotes: Collage Journal, 30 Years, incorporating many of the elements of the exhibition but in a different form. There are actual footnotes by the artist here. Copies are available for sale at the gallery. -- Emily Harvey S. Polo, 322 30125 Venice, Italy Tel 39 041 522 6727 Fax 39 041 523 5147 Email: [EMAIL PROTECTED] --- To tell us you want no further contact please reply with the subject 'remove' to [EMAIL PROTECTED] You will be dropped from our list of recipients.
Re: FLUXLIST: response Sol
Owen Smith wrote (sorry, I keep trying to finsih with my late in posts...) jeudi 14 septembre 2000 17:24 Objet : Re: FLUXLIST: response Sol Over the last few years as I have explored Fluxus I have become increasingly dissatisfied with traditional scholarly or historical approaches to the subject of Fluxus (mine included). As a wanna-be scholar I can understand your circumspection, which the usual circumpstection that any historian or scholar shall have to his subject. But what I seealso is, that all the people that have tried to work ON Fluxus as a subject of research or reflexion has come to such a careful attitude towards it. This might be approached to the openness claimed by Fluxus, and the direct approach that most of the people on the list can have with this subject. And I must admitt, that I cannot understand why Fluxus should avoid the historical perspective or be killed by it. Maybe it is the proof that I haven't work enought on it yet, or that I'm to thick to feel the necessity of this circumspection. The other common point of the Fluxus scholars is to say that Fluxus is too large to fit into an history that would choke it, leaving only a poor and dry skeletton of this lively "movement" (generally this excuse turns something like this: Filliou said art is what makes life more interesting than art, Fluxus is a flux of life into art, life is too complex to be reduced to history, so history will dry Fluxus untill it enters into the poor molds of the history of art). The problem is that I think it is exactly the contrary that may happen: historical and theorical researches are ways to show the richness and the variousness of Fluxus, because they are the best way to avoid the confinment of Fluxus into well, to well, known boundaries: we might not be able to hold the whole Fluxus thing into our hands, and this is good, but the more we will know, look, search and find new things about Fluxus, the more its amazing particuliarity will be obvious. I have to say that one of the things that bothers me the most, both as an artist and as a scholar, is ultimately that such approaches by themselves are unable to either communicate the nature or joy of Fluxus type work. Fluxus is for me no longer only a historical subject that I am either able to, or even want to only objectively analyze. I have come to the realization that to thoroughly communicate what I find of interest or significance in Fluxus I can not approach it through solely traditional historical methods or models. You're right, that's why I work on all the texts with an historical charachter wrotten by the FLuxus artists...And later on by all those scholars, critics, gallerists, collectors etc., all becoming member of the great Fluxus Familiy. Their number is amazing amongst the Fluxus Publicus (thanks to Simon ANderson for this denomination) and they are remarquable because they all try to offer an other way to write history...And that's what is interesting to me in this Fluxus adventure also: it shows some good chances to build a new methodology in writing and producing history of art. Second, all who choose to continue to participate, will be become the Fluxlist discussion-work groups (as Patterson suggests in the score), or we could even divide into smaller sub groups, but I think that would become a bit too unwieldy. So once we are formed into our discussion-work group we should then (as mentioned by Patterson) discuss the characteristics, problems, etc. of these models. Then following these discussions those who are participating in our discussion-work group (both actively and passively - yes even the lurkers) should create and score a new composition in this discussed genre, that is Fluxus and share them with the list. OK? Shall we go for it. . . . . . OK for me, I'll follow you.
Re: FLUXLIST: response Sol
De : Porges, Timothy [EMAIL PROTECTED] Envoyé : jeudi 14 septembre 2000 18:30 Objet : RE: FLUXLIST: response Sol Young fluxus was constantly told then that it was nothing new, nothing important, and so on. Amazing, what tyrannical old farts the dadaists turned into. So what does this mean for us now? "An Anecdote Ionesco suscribed to one of our suspense poems. The one forwarded to him was Filliou's Branche Autonome of the Galerie Légitime. In May 1966 the following telephone conversation took place in Paris between Daniel Spoerri and Mme Ionesco. Spoerri: Is Ionesco in? Mme Ionesco: No he's out. Sp: My friend Filliou is here with me. You know Ionesco suscribded to one of his suspense-poems. What do you think of it? Mme Io: Well, it's a kind of joke ins't it? Sp: It's humoristic, yes. Mme Io: The Dadaist did that before Sp: Didn't the dadaist write Ionesco type plays 40 years ago? Mme Io: Perhaps. But Ionesco at least is serious. Reported from memory one year later by Robert." In Games at the Cedilla, or the Cedilla takes off, By George Brecht and Robert Filliou, Something Else Press 1967 This is such a wondreful answer from Mme Ionesco that I have nothing to say more.
Re: FLUXLIST: artistic community experiment
On Fri, 29 Sep 2000, Narcissus In Paradys wrote: As a writer, I find the idea fascinating, but I just have to ask how are the members making money? I don't think they'll ever make money at it. I just like the idea of how the guy who posted the note on kuro5hin implemented an interactive web based community facility. cheers, George --- George Free [EMAIL PROTECTED] wrote: The art may not be that good, but the community web tech is cool, I think. http://www.kuro5hin.org/?op=displaystory;sid=2000/9/19/2458/13427 collective art (Media) Posted by luap on Tue Sep 19th, 2000 at 09:27:27 AM EST I've begun an experiment in my free time. I want to see if I can create an online artistic community with people posting their own works as well as commenting on others, sort of a method for writers/poets to get their word out and maybe even make money bypassing the publisher. Can it be done? Will the produced fiction/art be more/less real? I haven't really seen the 'slashdot' for literature out there yet. Instead of using one of the OS solutions out there for community type sites, I've decided to program my own (php4 w/MySQL backend.) I'll be honest with you, though, in that I'm an English/Journalism major, a poet at heart. I've been fascinated with the web since '95 or so, recently delving into scripting with PERL and php. (Creating art, but in another language, that of the computer.) So... I guess I'm just looking for feedback on the concept and execution of open source literature. Thoughts/Suggestions/Comments appreciated... == "When the last human has died, trees shall cover the earth." "Man is the dream of the dolphin." _ Get premier, free, fast, 6Mb web-based email at --- http://www.nabou.com
FLUXLIST: Fwd: Alison Knowles Opens Oct 5, 6-8pm
Date: Thu, 28 Sep 2000 23:06:04 -0400 To: [EMAIL PROTECTED] From: Emily Harvey Gallery, 537 Bway, NYC [EMAIL PROTECTED] Subject: Alison Knowles Opens Oct 5, 6-8pm Emily Harvey GalleryPress Release 537 Broadway at Spring New York, NY 10012 September 16, 2000 Tel. 212 925-7651 Fax 212 966-0439 Alison Knowles: Footnotes objects, prints, illuminations, and exploded page works from the travel journal, Footnotes, published by Granary Books, New York City, 2000. October 5 through October 28, 2000 Tues-Sat, 11:00 - 6:00 Reception for artist: Thurs. Oct.5th, 6:00-8:00 Emily Harvey Gallery will present Footnotes, an exhibition of new work by Fluxus artist Alison Knowles. This body of work reveals a range of innovations through combinations of objects, texts and unusual art materials. Conceived as an environment, the different components of the exhibit are based upon experiments regarding the nature of the page and the meaning of what a book can be. The pieces reflect Knowles' instinct to note everyday events and continually re-examine those experiences, regardless of chronology and linear thinking. Her work is faithful to life experience and the nature of the materials. Large panels extending from the ceiling and walls are page like in their structure, containing various embedded elements and incorporating projections on a grand scale. Some pieces may be explored by gallery visitors through touch. Silkscreen and Palladium prints, as well as cyanotype reflect Knowles' mastery of printmaking. The impetus for Footnotes is a lifelong continua of global travel, from which the artist has literally picked up things and created annotated journals. The concept of footnotes therefore is a means of referencing and reorganizing those travels, transferring the literary device into visual forms. Well-known for her experimental performances and installations from the early 60s in association with Fluxus movement, and by her affiliation with Something Else Press, Knowles has continually investigated the form and content of books. Examples of her previous works include the monumentally scaled Big Book from l967 and a walk-in object The Book of Bean from l983 which was exhibited in the Venice Biennale in l990. In coordination with the exhibition, Granary Books is publishing Knowles's book Footnotes: Collage Journal, 30 Years, incorporating many of the elements of the exhibition but in a different form. There are actual footnotes by the artist here. Copies are available for sale at the gallery. -- Emily Harvey S. Polo, 322 30125 Venice, Italy Tel 39 041 522 6727 Fax 39 041 523 5147 Email: [EMAIL PROTECTED] --- To tell us you want no further contact please reply with the subject 'remove' to [EMAIL PROTECTED] You will be dropped from our list of recipients. /blockquote/x-html
