FLUXLIST: Fw: For Immediate Release!
Hi all, Received this group mailing from Francie Schwartz the other day on Yoko Ono's new book. Thought you'd all be interested in the personal perspective of this mail, Francie and Yoko have been friends since the sixties when they met via their respective relationships with Lennon and McCartney. cheers, Sol. --- -Original Message- From: Francie [EMAIL PROTECTED] Date: 07 October 2000 16:51 Subject: For Immediate Release! YES YOKO ONO (Abrams/Japan Society, 2000) I come to YES YOKO ONO from a long, personal relationship to the Artist. But let's keep it real: I heard of the CUT PIECE when it was announced and after it was performed because I was a recent college graduate with a minor in Art History, and the Arts section was the first thing I grabbed in the New York Times. I happened to be living in NY from 1966-68 and again from 1979-81. I had had no direct contact with Yoko for nearly 31 years. More about that (contact) later. My copy of YES YOKO ONO arrived via Federal Express last week, and the moment I cut away the different coloured layers of bubble wrap I nearly gasped as if the thing were radioactive and glowing like something in a John Sayles movie. The following night I went through the sections again and the Indexes and Bibliography and Footnotes. It was like an acid trip for me. I own hundreds of art books, and this is the best I've ever had. Do I say this because the subject is also my friend? I don't know; I'm just doing it. It is also a fine teaching text on the avant garde movement in post-war America. It acknowledges influences graciously. The Lennon factor is in proper balance. This is a book about the woman of whom John Lennon once said, "She's the most famous unknown artist in the world." YES YOKO ONO *is* the art of Yoko Ono as well as her poetry, music, and instruction pieces. She is also a woman, perhaps the most maligned woman now living on this planet. How does a woman work through the oceans of negativity flowing toward her for decades? Making art can help. In the first moment of my own relationship to Yoko, (May 1968) I didn't associate the artist I'd read about in the New York Times -- the woman who sat on the stage at Carnegie Recital Hall and let people cut pieces of her clothing off -- with the tiny figure off in the corner of Abbey Road studios. When John introduced me to her, I was immediately struck by the truth: these two were well matched. I found them both beautiful. I still cannot think of them separately; they are JohnandYoko henceforth and forever to me. If only... Receiving YES is a heady thing. Just as John found Yoko via the tiny YES at the top of the ladder, you may find her in the pages of this sumptuous and thoroughly classy "coffee table book" (I would never put it on my coffee table. Might get coffee on it). SMILE FILM (#5 Apple, soon to be available) is the only Ono film I've seen from its inception. The unedited film came out of the lab when JohnandYoko were staying at "ours" (Paul's house). The sound of John's voice asking: Where's the projector?, the unrolling of the great old movie screen on its tripod legs, the projector just the same sort of sixteen millimeter projector my family had back home in New Jersey, it's all intact. I don't remember who did what, but one of these two odd new boyfriends of ours got the job done. We rolled the film. Paul sat back in the Daddy chair, slumped down with his Scotch and Coke. John and Yoko screened the silent smile. In memory, it was only one long shot, but it was truly a story told in John's face, in superslomo. I was digging it. In the background I hear Yoko saying "They have so much to get over. They have to get over the subject. They have to get over who the artist is. Then the relationship between the artist and the subject... Do you think I should put in the bird sound?" Then John says "Oh it's fine as it is dear, let's go to bed!" They were almost like an old married couple, endearing young charms dancing in their eyes. This is one of my most precious memories. I to give it away, the way you do with priceless things. In 1968, neither Yoko nor I had any idea these guys were going to be remembered in great detail thirty years on. We were just two young women trying to live with two guys. Yoko Ono, always focused and always productive, did not slow her fountain of ideas just because she fell in love with John. Until I had my YES, I had no idea that during that spring and summer, Yoko had several shows in different countries. I did attend the first show she did jointly with John in London, nearly six months before they were married. I looked up the name and date of the show in the Filmography/Gallery show listing but the name escaped me. I remember all the refreshments were clear cool water in elegant bottles, and balloons had been released with tiny tags that said "You are here." I remember a couple of those tags came back with nasty slimy notes addressed to John
FLUXLIST: scientific notation / Durrell
Rod Stasick writes:
1 Million Microphones = 1 Megaphone
Actually, 1 million microphones would be a phone, and a million phones would be a
megaphone (in America at least, I know in England some of the terms are different).
So, a million million microphones would be a megaphone.
This is somewhat odd, as every phone contains a microphone, so is the microphone in
the handset included in the million, so if you added 999,999 microphones to a phone
(which contains a microphone), you would have 2 phones? Then you could seperate the 2
phones thus getting 2 million microphones, where you only started with a phone and
999,999 microphones. Surely this is impossible. There must be as of yet un-documented
Law of Conservation of Microphones, or something...
453.6 Graham Crackers = 1 Pound cake
2000 Mockingbirds = 2 Kilomockingbirds
Half of a Large Intestine = 1 Semicolon
2000 lbs of Chinese Soup = Won Ton
Time it takes to sail 220 yards at 1 nautical mile/hour = Knot-Furlong
Weight an evangelist carries with god = 1 Billigram
In a very silly book I read in High School ("Science Made Stupid"?) (also applicable
to my High School), they had a list of definitions like this, the only one that
lingers in my memory is
1 millihelen = amount of beauty needed to launch 1 ship.
Ha ha.
-Josh Ronsen
http://www.nd.org/jronsen
ps: who was reading Durrell's "The Black Book"? Reed? I picked it up again, (3rd time
in 3 years), got to page 97, and now I am distracted by a biography of Caravagio. Did
you finish? Can you inspire me to finish? It is a difficult book to finish, this
Black Book.
ps: Roger, don't give Princess Petal the definition to conceptual art: she would only
abuse it in her dePraved, aPPalling, Pernicious, reProbate, rePrehensible Petal
Plans... Or am I thinking of someone else?
--== Sent via Deja.com http://www.deja.com/ ==--
Before you buy.
FLUXLIST: Reminder: Live tonite Jarryd Lowder at Parsons/New School
(Reminder to join us in person tonite at Parsons/New School, or online) For Immediate Release The Alternative Museum and NetArt Initiatives Presents: TAM MONITOR ELECTROLOUNGE #2: JARRYD LOWDER: in a live performance of "Autoharp" and "Friday the 13 Pt. 666" Friday, October 13, 2000 performance at 7 PM Parsons Center for New Design 55 West 13th Street, 9th Fl. live online at http://alternativemuseum.org/tam_monitor http://netart-init.org ++ In "Autoharp", the performer plays a custom-built harp-like interface which triggers integrated video and audio. There are several 2-minute sections in the piece, during which the structure is improvisational. This piece was first performed at Roulette in New York in December of 1999 and more recently in San Francisco, Madrid and at the ICC in Tokyo . For the second piece of the evening, Jarryd and two guests- Brendan Klinger and Sam Laybourne, will be busting out a one-time-only culture-jammer-style gore fest called "Friday the 13th Pt. 666". Jarryd will make some noise while Brendan and Sam will spew forth some retarded rap stylings. Bring your goalie mask. ++ +++ Jarryd Lowder Performance artist. Born 1968, Iowa City, Iowa. MFA School of Visual Ars, Computer Art. His performances "AUTOHARP" and "COMPOSITE CELLS" have traveled worldwide including Roulette (New York), Ars Electronica 99 (Linz). Improvisation is a primal motivation in his work. Has collaborated in the past with Christian Marclay at Knitting Factory (New York). He was recently featured in the "New Media New Face" series at the ICC in Japan. ++ +++ TAM MONITOR ELECTROLOUNGE: is an ongoing series of live webcast performances / presentations / chats by artists working in varied media, and appears as part of the New Media Initiatives of the Alternative Museum: http://alternativemuseum.org TAM MONITOR is a bi-monthly electronic journal of contemporary art: http://alternativemuseum.org/tam_monitor The NETART INITIATIVE is a loosely knit, open source based, hub styled, forum oriented, action enabled consortium, where people meet, virtually and bodily, to communicate, exchange, and discourse for advancing the understanding of a virtual art, a networked art and an art that is pervasive and ubiquitous in the years to come. jihui (the meeting point, a project of NetArt Initiative), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc, jihui puts you right under the spotlight. For more info, visit http://netart-init.org check under toBeIsToDo. jihui is sponsored by Center for New Design @ Parsons School of Design ++ Cristine Wang Director New Media Initiatives The Alternative Museum 594 Broadway NYC 10012 http://alternativemuseum.org http://alternativemuseum.org/tam_monitor
FLUXLIST: [Fwd: RHIZOME_RAW: sonic flux_sonic circuits VIII (announcements)]
10.13.00 Walker Art Center launches two interactive sound projects as part of Sonic Flux series. http://www.walkerart.org/pa/sonicflux/ This series explores the ideas of a selection of seminal composers and Fluxus artists. This basis for the series was originally inspired by the Sonic Youth album SYR4 Goodbye 20th Century (http://www.walkerart.org/calendar/0006/details/garden2.html ). JOHN CAGE Known for his iconoclastic use of chance-determination in his compositional works, John Cage also worked to create the system from within which the chance operated. As a self-generating system which brings together elements from a variety of Cage's work, the online piece creates a Cagean environment of unforeseen relationships and fortuitous happenstance. STEVE REICH Based on his score Six Marimbas, the online piece demonstrates the composer Steve Reich's use of the phase-shifting principle he is known for. By breaking down the musical structure of the piece into a set of visual elements, some of which are then rotated, the piece allows for creating a shift in time, or phase-shift, between several canons of sound. Produced by Trudy Lane with Jeff Feddersen, Justin Bakse, and Justin Braem, these projects will be demoed as part of the Sonic Circuits VIII Festival, Nov. 2-3, information below. A Yoko Ono project will be launched in March 2001, in conjunction with an exhibition at the Walker Art Center. ++ Thursday, Novembe 2, 8 pm GODARD'S ALPHAVILLE WITH NEW LIVE SCORE BY SCANNER http://www.walkerart.org/calendar/0011/details/SONIC.html The Walker hosts an evening with London-based digital media artist Scanner, who presents a newly scored, live sound-track interpretation for Jean-Luc Godard's classic 1965 film Alphaville. Scanner, internationally known for his digital media manipulation and found-sound scavenging, is also a musician, writer, curator, media critic, and minimalist antihero whose eclectic mix of activities places him at the crossroads of academic and digital pop culture. This live music-film performance kicks off the eighth annual Sonic Circuits festival of electronic art created by explorers on the frontiers of technology. The festival, which runs from November 2-4, features performances, family events, and exhibitions that bring home the surprising degree to which electronic art has influenced people and cultures worldwide. For more information on Scanner and other Beggars Banquet artists, try their Web site. Copresented with the American Composers Forum, Leonardo Electronic Almanac, Futureperfect, and the U of M School of Music. +++ Friday, November 3, 8-11 PM Future Perfect 10: Sonic Circuits VII http://www.futureperfect.org/ at the Landmark Center St. Paul Ambient room :Hosted by Lilith Satoshi Shinozaki, Mike Croswell (Metaphor), Chuck Zwicky, John Vance (Rexor/Wrong). DJ room: Hosted by DJ Drone (dave Jaros), with DJ Chris Mindflux, DJ Andrew, DJ Code Blue and FP mainstay TS Mainstage: Paul Higham , John Jindra , Paul Aiken from Appliancide / Unconditional Loathing, Big Daddy Jr. and the Spook (former Shape Shifter/Ousia/Passage), Susan Rawcliffe, Pop groop Pleasant Stitch, Fred Teasley (Ousia) and a few more yet to be mentioned. All night installations from Zaftig and The Radar Threat. New Media room (curated by Leonardo's Craig Harris) featuring Telemusic #1 by Steve Bradley and Randall Packer. ALSO ON THE WALKER HOMEPAGE (http://www.walkerart.org). Future Perfect: Sonic Circuts VIII will be webcast and broadcast live on TV (cable channel 35 in Saint Paul) Steve Dietz Director, New Media Initiatives Walker Art Center subscribe Webwalker: http://www.walkerart.org/gallery9/webwalker/ Steve Dietz Director, New Media Initiatives Walker Art Center subscribe Webwalker: http://www.walkerart.org/gallery9/webwalker/ + /creative juices flowing...? - Rhizome.org - post: [EMAIL PROTECTED] - questions: [EMAIL PROTECTED] - unsubscribe: http://rhizome.org/unsubscribe/ - give: http://rhizome.org/support + Subscribers to Rhizome Raw are subject to the terms set out in the Subscriber Agreement available online at http://rhizome.org/subscribe/
FLUXLIST: Kanienkehaka
Take:niehto:kate tsi wakhonwi:sere Akwe nonta:kehte iohwistakare:re Kwa
seh watieshon tsi wakhonwi:sere Ionhwe:son nakohsa:tens naiakohonwi:sere
Swista:ek swista:ek e:so swista:ek Ionhwe:sen nakohsa:tens
naiakohonwe:sere
The idea is to resist noise, speech, rumors by mobilizing photography's
silence; to resist movements, flows, and speed by using its immobility; to
resist the explosion of communication and information by brandishing its
secrecy; and to resist the moral imperative of meaning by deploying its
absence of signification.
Date: Fri, 25 Aug 2000 10:55:30 -0700
From: TASHA ANDERSON [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: Re: 04278.jpg [1/1] (12hr)
what are these pics of?
Date: Wed, 30 Aug 2000 18:03:54 GMT
From: linda dare [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: 12 hour project
Couldn't find anything that resembled your description of the 12 hour
project. Is this the interim before the end? Will it be available in the
future? Will archives of the past postings be available?
New to the word hypertext but very interested in connecting the concept
with graduate writing programs and letterpress.
Should I just give your last listserv posting to a student who knows more
about computers or is the site incomplete at this time, as it seems.
Thanks,
Linda Dare
Otis College of Art Design
Date: Fri, 1 Sep 2000 23:33:16 -0700
From: Karl J Volk [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: Re: UPDATE: the 12hr isbn-jpeg project
DEar Sir: I have no idea what on earth you are talking about Karl J.Volk
Date: Sat, 02 Sep 2000 20:42:35 -0500
From: LushiousX [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: Hi Brad.
Wow, I didn¹t realize that you were posting at the same nearly, or I
would have sent you a little chat:-) I¹m digging the 12 hour series. I
nearly have enough of them for a good slide show, then I¹m really going to
enjoy them more. I¹m not sure if the hotmail address is working or not
try: [EMAIL PROTECTED] if you would like to write back, that one is
good. Thanks for the overview of your series. LX(johnart)
Date: Tue, 05 Sep 2000 13:17:48 -0700
From: alex galloway [EMAIL PROTECTED]
To: { brad brace } [EMAIL PROTECTED]
Subject: Re: your mail
here's a few 2 start.. take as much time as you want..
+ + +
Q: You're a pioneer of sorts. The 12hr-ISBN-JPEG Project began at the end
of 1994 and has run continuously since then. Can you describe the
project--what it does, where the images come from, etc.? How are ISBNs
involved?
Q: Do you have a particular interest in nonstandard net art formats such
as usenet, ftp, email, or are/where you simply using the technology
available to you at the time?
Q: What's your position on art vis-a-vis the museum? What are the perfect
conditions for artmaking?
Date: Sat, 16 Sep 2000 21:27:01 -0400 (EDT)
From: Lord Machiavelli [EMAIL PROTECTED]
To: { brad brace } [EMAIL PROTECTED]
Subject: 12 hr
I've been enjoying these odd posts for several months, off and on. What
are these? 12 hour exposures? What a concept! :) I've been looking for
one to use as a background for my sig or webpage, if I find one mostly
dark with whispery hints of smoke. Is this something you would give me
permission to use, if I found the right pic?
LM
sig pending
Date: Sat, 16 Sep 2000 22:35:43 -0600
From: david [EMAIL PROTECTED]
To: brad brace [EMAIL PROTECTED]
Subject: re:repost
Hello Brad Brace, I never saw the repost of 04318 on the 2 newsgruops I
am currently subscribed to. They are alt.binaries.pictures.12hr and
alt.binaries.pictures.fine-art.misc . Is there another one I should be
subscribing to? or should I contact my n etwork adm. Let me know and I
will be happy to do either. I have really fallen in love with your project
over the past year and have told any one who will listen to me about it.
It's a big part of my online experience. I literally look forward to it
ever yday . the first thing I do when I go online is save your jpeg in my
bbrace folder everyday. Very nice work! Is there anyway I can get
archived files from you? I haven't used them yet in any work that I am
currently involved in, but i do have some idea s and will give you FULL
credit for your wonderful project if and when things unfold as they
should. happily keeping up with you, David Koch
Date: Sun, 17 Sep 2000 14:00:58 -0400
From: Pietro De Santis [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: 12 hr
Hello,
I was curious as to what all these photographs labelled "12hr" are all
about.
Regards,
Pietro.
Date: Mon, 02 Oct 2000 22:41:40 -0700
From: "Dominic F. Ciancibelli" [EMAIL PROTECTED]
To: { brad brace } [EMAIL PROTECTED]
Subject: Re: intimate complicity
Grvy Tuesday. Far North. Right arm.
Hairy Krishnas. Can I use one of your pictures
to use as a birthday card to my ex wife???
So enough with the yap, let's get on with the
..other stuff.
;-)
Domo
--
Date: Mon, 24 Apr 2000 20:27:27 +0200 (CEST)
From: Siegl
FLUXLIST: (no subject)
Chelsea open studios is this weekend October 14-15, 12:00-6:00. Where,West Chelsea Arts Building 526 West 26th Street NY, NY 10001
Re: FLUXLIST: Kanienkehaka
There is something vaguely familiar about this phraseology, this cadence, these
syllables, the rythym
Yes, yes, I think it's coming to me, I think I've got it..it's coming -
"Helluva Hawaiian Hula Holiday" Yep, that's it.by The Killer Rabbits.
{ brad brace } wrote:
Take:niehto:kate tsi wakhonwi:sere Akwe nonta:kehte iohwistakare:re Kwa
seh watieshon tsi wakhonwi:sere Ionhwe:son nakohsa:tens naiakohonwi:sere
Swista:ek swista:ek e:so swista:ek Ionhwe:sen nakohsa:tens
naiakohonwe:sere
