[NetBehaviour] 2000 9/11s

b xperimënts mediaidea at arkania.org
Mon Sep 10 13:48:18 CEST 2007


i don't know if i really agree with all what you have written,

you see, i can't go to the prado museum or mncars (contemporary) because 
the rooms are full of security guards and if i sneeze they say to me, 
please, sneeze out of the room, the painting can get your cold...


... well, not that... but i've been told lot of nonsense by security 
guards in museums and i don't want to pay for living that fucking 
experience with fucking guards at my back...

i'm sensitive to art... which can not be beauty, but powerful... (could 
you say that witkin's pictures are beautiful? )


yes, it was a time where lots of brushes and lots of coloured mineral 
were used...

... but as fas as i know, the woman that i think that is now the great 
one in net art is managing other kind of brushes and other kind of 
coloured mineral.

she is a craftswoman too, the craft consists in making things happen in 
your screen... which is cheap for most of the people, and a way to live 
art and grow with it... at least to me, she teaches me words, she opens 
me words, and like she, many other people... james, alan, mez... and you !!


so...


as godard said, we know a landscape comparing it with another landscape,


let's gonna enjoy netbehaviour,




xDxD escribió:
> art on the net is strange.. people lurking at screens, often alone and 
> in bad lighting conditions.
> they probabily ate trashy food, and maybe they drank a beer or two.
> it's not like being at a museum: art like this is just another thing.
> in the perception of the user, anyway.
> it is relly interesting how at the beginning art on the network was 
> really concerned on interface.
> you went to see the works and there tey were: html interfaces totally 
> messed up, images popping out, annoying sounds, strange backgrounds, 
> possibly built on animated gifs, and so on.
> or based on a research on an aesthetic such that the moment you looked 
> at it  you declared "he's from germany!"
> yes, you said "he" and "germany".
> and that's the way it was: it was bad-looking in a way, as a lot of 
> stuff of the avantgarde, and it had thought behind it, it ws 
> "meta"-something.
> we got to the industrial and information revolutions and after that 
> nothing was the same anymore: someone had to explain you "art" before 
> you could say "oh, it is beautiful!".
> no more nice asses on statues, or perfect color gradients made with 16 
> different brushes and 18 different minerals used to prepare the paint.
> but alchemy was still there. only it went farther from the eye, and 
> closer to other senses.
> sound, for example.
> or that form of "new tactility" that you establish with websites, 
> virtual environments, or by browsing the web in that hypnotic state in 
> which you grab content, you look at it for 3  seconds, then you click 
> and get another content and you start over with the new one, just until 
> you switch off your pc.
> you get it, you feel it (who hasn't experienced such a rush while 
> surfing? at least a few times?), it is a new sense, it is a new 
> perspective in sensoriality.
> by it possibly didn't become organic enough so that you don't need 
> explanations when you try to figure out  what it is about.
> Alan's work is like that. On language.
> And, from what i can see, most contemporary art is like that, too.
> you need explanations, if you wish to understand. (and the persons 
> explaining almost rise up to the same importance level as the author, if 
> you think about it ... it isn't a time for ego anymore)
> or you just need to relax and feel the experience.
> or you can hit that "DEL" button on the keyboard, as this art is built 
> for that, too.
> 
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