FLUXLIST: FLuxbox 2 cordinator crispin Webb
OK we have one MOnth. Everyone who wants to participate send one of the 50 editions to be made. I will assemble the work in the cigar box. The Demensions will be for the box will be 10 inches long, 5 inches wide and 3 iches deep. So that means that i must recieve your one edition by Feb 12th. I will upon assembly email the list the finished work. Then we will proceed in making the edition of 50 FLUXbox 2 cordinator crispin Webb Mailing adress 4 west chestnut apt#5 mount vernon ohio 43050 __ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com
Re: FLUXLIST: Studies .....
> well Bertrand, it's perhaps art-history's very blinkered > "disinterest" in the face of ongoing and outright > institutional abuse that's pretty hard to stomach... Reducing art historians to the few world famous curators is to reduce art world to the few international artists that earns several millions of $ a year. Luckly enough, both are much wider than that. > has there ever been a "radical art historian?" [Are they all > essentially failed artists?] Pick a card, any card. Do you mean a "radical art" historian or a radical "art historian"? And what could that mean? In what term could an art historian be radical? Politically? methodologically?Would a marxist art history be radical for example? Or would it be radical only by choosing radical art movements to study? Besides, what do we do with all these radical artists who writes historical texts (i.e. Dick Higgins, Emmett Williams, and the like)? Are they failed artists? Is Duchamp, when building his own collection for the museum, considering that collectors are in fact painters, is a failed artist or a radical art historian? Can Aby Warburg, when leaving his european comfort to travel in the navajo tribes in the begining of the XXth Century, be considered radical? Or is he radical beacause of his very particuliar way of making art history through his Mnemosyne device? Honnestly, I don't have the answers to these questions, but they might help to explain what I wanted to say: beyond humor and parody, things are not so clear and simple, first of all because behind the theories, the texts, and the works, there are human beings acting, thinking and living, in history of art as in any human activity. Bertrand
Re: FLUXLIST: Studies .....
Honnestly I don't know...because first of all I don't know the situation in the USA. However, people like Virilio for instance, probably have a very "pop star" persona... Bertrand > Would you say that "critical theorists" and art historians > are more likely to have a public "pop star" persona in > France (Europe?) than in the US? If so, why do you think > that is? /:b > > > > >
FLUXLIST: One instance of "telling truth to power."
Dear Mr. Brace,
If you want an example, Ill be happy to provide one.
First, I want to clear up your misquote. I did not write the words you
quoted me as having written. You changed my words, placing your own addition
word in quotation marks to make it appear that I wrote about art historical
scholarship. I didnt write this.
Date: Sat, 11 Jan 2003 19:25:56 -0800 (PST)
From: { brad brace } <[EMAIL PROTECTED]>
Subject: FLUXLIST: Re: Ruse (was History?)
aw, Jennifer... ok, out of curiosity, please provide one
instance when art historical scholarship has served human
freedom in important ways by shedding light on the false
assumptions and claims that are sometimes used to support
oppressive institutions.
/:b
What I wrote was, While I dont want to stretch the point too far, there
are cases in which historical scholarship has served human freedom in
important ways by shedding light on the false assumptions and claims that
are sometimes used to support oppresive institutions. The word art does not
appear here.
Now for the example.
During the Middle Ages, there was a major clash between the papacy and the
temporal powers. Over the period of several hundred years, papal power grew
and the pope became a temporal lord in addition to his spiritual authority.
At one point, a document known as The Donation of Constantine emerged.
This document purportedly represented a gift from the Emperor Constantine to
Pope Sylvester I. This gift purportedly gave the pope and his successors
TEMPORAL authority over the entire Western Roman Empire. This is the
entirety of todays European Union.
This document was used to support the idea that all kings and princes were
subordinate to the pope. It was also used to argue the case for direct papal
control over the Papal States. Given the immense power and corrupt nature of
the medieval Catholic Church, this document was used to support what most of
us (including Catholics) would recognize today as an oppressive institution.
In 1440, an Italian humanist and philosopher named Lorenzo Valla proved that
this document was a forgery. This proof deprived the papacy of a major tool
used in pressing its supposed legal claims to supremacy over the political
and economic life of Europe. It played a great part in the new thinking that
gave rise to the Renaissance and to the reformation.
You can read the full story of Valla and the Donation in the on-line edition
of the Catholic Encyclopedia, or in Daniel Boorstins book, The Seekers. Im
not a general historian, but I know that other examples exist. (This
specific example comes from my correspondence with Ken Friedman. I have
pretty much copied what he wrote me in a note answering some questions on
hermeneutical research methods.)
Your comment to Bertrand, and the question that follows, can be easily
answered. You wrote, and these ARE your words, well Bertrand, its perhaps
art-historys very blinkered disinterest in the face of ongoing and
outright institutional abuse thats pretty hard to stomach... has there ever
been a radical art historian? [Are they all essentially failed artists?]
Pick a card, any card.
Disinterest in the sense that Bertrand used the word mean freedom from
partisan interests. What Bertrand was saying was that there are some people
interested in truth, no matter where it leads. To be a radical art
historian, you must be disinterested, and you must be willing to challenge
convention.
Art historians can rarely affect history as Valla did. Even so, they can
make a difference. The new Royal Museum for Central Africa in Tervuren,
Belgium, is a good example. The new museum installation will examine Belgian
racism and oppression in the Belgian Congo. This important project is
already changing the way that Europeans consider their own past and future.
It is a major contribution to the on-going struggle against racism in Europe
and the Western world.
The work that art historians have done in examining and publishing
scholarship on the art and culture of first peoples and people of color is a
real contribution to human knowledge. This work demonstrates the varieties
of cultural, artistic, and religious expression. It often shows how Western
culture has growing and benefited from the contributions adapted and
imported from other cultures. In doing this, art historians contribute to an
important public debate that does have political impact. What has political
impact in the Western democracies eventually has economic impact, and this
effect weakens the power of oppressive institutions.
In some places, art historians and other scholars have paid a heavy career
price for telling the truth. Some have paid the price in freedom, and some
have even paid with their lives for writing and publishing facts that make
established powers uncomfortable. Your failure to recognize that some people
serve freedom by telling truth says more about you than about them.
Are a
Re: FLUXLIST: FLuxbox 2 Co-ordinator Crispin Webb
Well done, Crispin Let's go... - Original Message - From: "Crispin Webb" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Sunday, January 12, 2003 7:59 AM Subject: FLUXLIST: FLuxbox 2 cordinator crispin Webb > OK we have one MOnth. Everyone who wants to > participate send one of the 50 editions to be made. I > will assemble the work in the cigar box. The > Demensions will be for the box will be 10 inches long, > 5 inches wide and 3 iches deep. So that means that i > must recieve your one edition by Feb 12th. I will upon > assembly email the list the finished work. Then we > will proceed in making the edition of 50 > > FLUXbox 2 cordinator > crispin Webb > > Mailing adress > 4 west chestnut apt#5 > mount vernon ohio 43050 > > __ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > >
Re: FLUXLIST: History?
hey I know you have boyfriend considerations but you can get an art history phd at UCsanta cruz in two years
Re: FLUXLIST: playing cards
how about calling it Fluxus for Dummies Rummy?
RE: FLUXLIST: Playing Cards addendum...
Why not pursue both avenues in this card idea? I'd like to stick with my original idea about the cards from scratch, but I've fowarded my address to you so I can alter one of your cards. I also like the idea of working with these cards that have been around the block - so to speak. Should be fun! Candace. -Original Message- From: David William To: FLuX-LisT Sent: 1/11/2003 1:34 PM Subject: FLUXLIST: Playing Cards addendum... ...Which is not to say that Candace's idea of creating several decks from scratch isn't an excellent one. It most certainly is, and I'm definitely interested! -D.Billy- Free 20MB Web Site Hosting and Personalized E-mail Service! Get It Now At Doteasy.com http://www.doteasy.com/et/
FLUXLIST: Fwd: the >wartime< project online launch
Date: Sun, 12 Jan 2003 12:09:41 -0500 Subject: the >wartime< project online launch From: (atty) [EMAIL PROTECTED] as the American administration, in the space of 24 hours, committs a further 62,000 military to an attack on Iraq, the online edition of the >wartime< project is now open at http://offline.area3.net/wartime in the >wartime< project over fifty digital and network artists, individuals or groups across this planet, organizing through the internet, have contributed pieces reflecting on and reacting against wars, past, present and future. A further fifty or so artists are currently registered to contribute to the project in the future. the project is also designed to be capable of being shown LIVE in public and a calendar of these events is on the site. we hope that the reach and diversity of approach, materials, sentiments and location in the component parts of our project demonstrates that we will not be dragged into war without reaction, without questioning, and that we have the will and capacity to defy the borders and barriers erected between people by war makers. current UK and US forces already surrounding or heading for Iraq now number over 160,000. Probably the concentration in quantity and expense of the weaponry and its destructive potential which has been assembled facing Iraq has never been matched before. Heavy casualties for civilian and military are very possible if the cities of Iraq are to be entered and attacked. This and the possibility of war wider in the Middle East and further can threaten our environment and lives nearly everywhere on this planet. If we are responsible to ourselves and to others we should consider making what contribution we can to halting this descent into destruction, working in our own areas and with our own particular skills, as we are attempting to do with the >wartime< project, and with initiatives such as http://artcontext.org/antiWar/index.php, and by joining wider activities such as the US wide anti-war day on January 18th and the planned anti-war marchs across Europe on Febuary 15th. yours atty the >wartime< project URL is http://offline.area3.net/wartime more participants are welcome at http://offline.area3.net/wartime/join.php the >wartime< project is a joint intitiative of the international digital artists group OFFLINE http://offline.area3.net and South London based ditial arts events association open_digi http://club.net-art.ws/
Re: FLUXLIST: FLuxbox 2 cordinator crispin Webb
On 1/12/03 1:59 AM, "Crispin Webb" <[EMAIL PROTECTED]> wrote: > OK we have one MOnth. Everyone who wants to > participate send one of the 50 editions to be made. I > will assemble the work in the cigar box. The > Demensions will be for the box will be 10 inches long, > 5 inches wide and 3 iches deep. So that means that i > must recieve your one edition by Feb 12th. I will upon > assembly email the list the finished work. Then we > will proceed in making the edition of 50 > > FLUXbox 2 cordinator > crispin Webb > > Mailing adress > 4 west chestnut apt#5 > mount vernon ohio 43050 > > __ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com > Holy crap! Decisive, organized action! I'm breaking out in hives but I like it! AK
FLUXLIST: Karenina.it
Karenina.it - Poetry in Phatic Function http://members.xoom.virgilio.it/kareninazoom/kareninarivista.html 50th International Art Exhibition 50ma Biennale di Venezia 50th Venice Biennial Statement by Jesse Glass on Visual Poetry As Charm, As Curs Some notes to the aesthetics of hypermedia Interactivity: Linearity and Structure. By Reiner Strasser LITERARY HOLOGRAPHY By Richard Kostelanetz On Contemporary German Literature. Sub-Culture, Underground- & Pop-Literature, Live-Lit., Slam!Poetry and other experimental Issues. By Enno Sthal Gianni "Túpac" Toti A tribute to Gianni Toti by José-Carlos Mariátegui News News News -- KARENINA.IT (poetry in phatic function) Caterina Davinio art director [EMAIL PROTECTED] On line since 1998 - By Jakobson, phatic is the use of the language which has the finality to maintain open and operative the communication channel among the interlocutors. On the confine between art and critic, happening and net performance, Karenina.it is a virtual meeting place around the theme of writing and new technologies, in which experiences of international artists, curators, theoreticians converge, in a net that counts thousands of contacts in the world.
FLUXLIST: .sesxobxulF & sdraC
Alright... here's the skinny on the handmade deck / 1 year game: The project is still in development and gathering participants. These are the basics: -I send out one card from a deck to each of 51 participants. (With the 52nd being myself.) -Each participant affects their card -- paint/write on, collage, whatever -- either leaving the number and suit visible, or by writing "jack of clubs" or what have you very small at the bottom, or otherwise indicating what card it is. -Each participant returns their card to me, and I assemble the completed deck. -I will play with the deck and send it on to another participant, along with a full list of participants & their addresses. Each person will play with the deck, then send it on to the next person. The idea is to have the deck "in play" for one week per participant, making 52 weeks -- one year of play with the collaboratively created deck. ***VARIABLES / THINGS I'VE NOT YET DECIDED ON:*** -Will the week consist of 2 to 5 days mailing time, with the remaining days for play? ... Or will the mailing time not count, giving each person a week of possession & play that counts toward the year? -Will one side or both sides be affected? Better playability with only the face decorated, but not as open or interesting. More possibilities with full-card-manipulation, but will make deck memorizable. --Possible solution to double-sided decoration playability problem: If both sides affected, no one can look at deck before game is played. This will give one "honest" game at least. Gimme addresses! Free 20MB Web Site Hosting and Personalized E-mail Service! Get It Now At Doteasy.com http://www.doteasy.com/et/
FLUXLIST: .sdrac tsuj saw tahT .spooO
FLUXBOXES: Alright. Send one edition of 50 to be made... So... if I wanted to include, say an alphabet block - that would be 50 alphabet blocks, one for each box...Yes? But you asked for one? Am I missing something? I probably am. -Flake Who Thought He Had It All Set, But Apparently Needs Things Spelled Out- Free 20MB Web Site Hosting and Personalized E-mail Service! Get It Now At Doteasy.com http://www.doteasy.com/et/
Re: FLUXLIST: History? How long for a Ph.D.?
Dear ArtnAnts, It helps to know what you are talking about before telling people what you know. There is no Ph.D. in art history at the University of California at Santa Cruz. If there were, it would probably be comparable to the Ph.D. in history. A UC Santa Cruz Ph.D. in history generally takes six years. The closest art history program in the UC system is offered at Berkeley. The Ph.D. in art history at Berkeley takes six to seven years, but they point out that students in Asian or Ancient art generally require seven to eight years. I know many graduates from the University of California, and Ive never met anyone who graduated with a Ph.D. in two years. You seem to be confusing the MFA degree with a Ph.D. The MFA is an art studio degree, and many people complete it in two or thee years. Of course, I could be wrong. Owen Smith has a Ph.D. in art history and Bertrand Clavez is getting one. Perhaps they can tell us if there are any two year Ph.D. programs. Jenny Sheldon Date: Sun, 12 Jan 2003 10:09:31 EST From: [EMAIL PROTECTED] Subject: Re: FLUXLIST: History? - --part1_16.2b173341.2b52df2b_boundary Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit hey I know you have boyfriend considerations but you can get an art history phd at UCsanta cruz in two years _ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail
RE: FLUXLIST: Playing Cards
-Original Message- From: Roger Stevens To: [EMAIL PROTECTED] Sent: 1/11/2003 5:13 PM Subject: FLUXLIST: Playing Cards I guess I was assuming many of the cards would lose their identity I quite like the idea of designing one card, tho' and you taking on the task of printing them etc You're right - I don't know what I'm talking about. I assume the cards would morph into something else too. So I guess, as long as different designs are submitted, they could be mixed and matched to create unique decks. The important issue is that there be enough cards to create enough decks. I also like the idea of the packs having a random element e.g. several packs with five King of Hearts, a wallaby and a three of saucepans I also thought I might take on the task of organising the rule book - unless you'd like to do that too - I don't mind Sounds great. I thought people might like to submit versions of games to play with the cards e.g. Fluxwhist, Fluxrummy etc Your deal Go Fish. Roger
Re: FLUXLIST: History?
And a driving licence with 12 packs of coca cola cans ;-) Seriously, I'm not sure that Jenny's considerations has anything to do with short time work...and besides, I can't figure out to what could a two year PhD look like: I'm in my seventh year of work, and honnestly I'd like to have some more time...Scholar work is rather long and slow, so I don't think it could be done in two years - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, January 12, 2003 4:09 PM Subject: Re: FLUXLIST: History? hey I know you have boyfriend considerations but you can get an art history phd at UCsanta cruz in two years
Re: FLUXLIST: FLuxbox 2 cordinator crispin Webb
hi crispin, would you please post a list of the participants? bests, carol Crispin Webb wrote: > OK we have one MOnth. Everyone who wants to > participate send one of the 50 editions to be made. I > will assemble the work in the cigar box. The > Demensions will be for the box will be 10 inches long, > 5 inches wide and 3 iches deep. So that means that i > must recieve your one edition by Feb 12th. I will upon > assembly email the list the finished work. Then we > will proceed in making the edition of 50 > > FLUXbox 2 cordinator > crispin Webb > > Mailing adress > 4 west chestnut apt#5 > mount vernon ohio 43050 > > __ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up now. > http://mailplus.yahoo.com
Re: FLUXLIST: History? How long for a Ph.D.?
[EMAIL PROTECTED] writes: >Of course, I could be wrong. Owen Smith has a Ph.D. in art history and >Bertrand Clavez is getting one. Perhaps they can tell us if there are any >two year Ph.D. programs. No there are most certainly no Phd programs that take two years (most take between 5 and 10 years) - what might be a confusion is that you can complete most if not all of your course work in about two years but then you have a year to study and take your general exams and two to three years to do your research and write the dissertation, and this is for the US system - Bertrand, didn't you tell me that in France it can take up to 15 years to complete a Phd, with all of its teaching requirements? Owen
Re: FLUXLIST: .sdrac tsuj saw tahT .spooO
[EMAIL PROTECTED] writes: > >Alright. Send one edition of 50 to be made... >So... if I wanted to include, say an alphabet block - that would be 50 alphabet >blocks, one for each >box...Yes? But you asked for one? 50 total from each contributing artist/person- one for each box, right? Make sure that you all carefully count - last time some of the contributors did not send a full fifty works. Owen
Re: RE: FLUXLIST: Playing Cards addendum...
[EMAIL PROTECTED] writes: > Why not pursue both avenues in this card idea? I'd like to stick with my >original idea about the cards from scratch, Sure - I am game count me in on your original card idea Candace. . . . Owen
FLUXLIST: parasite fortune cookie
what was karei's quote about fluxlist parasites again? I can't find anything on that inane archive... /:b
Re: FLUXLIST: parasite fortune cookie
Nevermind: I found it: " Pathetic leeches. Just like you
feed on the corpse of FLUXUS."
/:b
On Sun, 12 Jan 2003, { brad brace } wrote:
>
> what was karei's quote about fluxlist parasites again?
> I can't find anything on that inane archive...
>
> /:b
>
>
>
