tom moody

copied and pasted:

cartoony ironic logos for mid-'90s New York art galleries
screen-filling lines of Flash text about "sex in North Korea"
found videos of police beating rioters/demonstrators declared to be artists' actionist art
speaker suspended over water plays glitchy electronic music; speaker-bedecked table football game emits amplified sounds and sound effects
videos of falling icicles popping balloons
peruvian carpet and plugged-in native instruments; aboriginal style guitar picks
amplified bag of live snails
conversion of ordinary car covers into portable tents
two-channel Quicktimes scroll lists of loved, hated things
map-based visualization translates current network ping times into geographical distances (supposedly)
trees planted in order of height
1. artist travels to corporate headquarters to photograph them, then cuts the headquarters out of the photo; 2. sculptures based on cutouts
different colored windbreaker jackets hang from branches of upside down tree
film extras wear reflective clothing and hold up reflective signs to highlight their plight as invisible people of the film world
photo series documents shop signs pointing to "internet access"
network of speakers in bus stop creates "washes" of sound
artist photoshops his face onto the bodies of acrobats, martial arts masters, etc. in series of videos
2001 Net installation shows news pictures most viewed (ranked from 1 to 10) on different national Yahoo portals, in real time
post confuses two pieces--one involving recycled glass and one involving cardboard boxes that crash to gallery floor
bob marley flag, unidentifiable flag on roped-together bamboo poles
gold plaintain chain
image of Ojeda Ríos (Puerto Rican independence militant slain during controversial FBI arrest) printed on Nikes
8-bit music video with icons as pixels
sacred moment of baptism documented in scores of amateur videos (diptych juxtaposes dunking with re-emerging)
photo of shoe prints in sand, soles have text and pictograms inscribed in them
trumpet (musical instrument) attached to motorcycle tailpipe
United Nations symbol in acrylic glass or acrylic & glass (not sure which)
people listen to amplified ice melting (Allan Kaprow idea adapted for sound art)
tiny man paints the White House on the US$20 bill solid white using a paint roller (special effects video)
artist paints ruins white in Kabul, Afghanistan
online performance where viewers' clicks move cardboard box in small increments across a shelf until it tips over
plastic Oh God thought bubble hovers in museum-like space
Every word in the Bible arranged in alphabetical order and printed
collage in wooden box made of cut-up Economist mag
"erasure in photoshop" genre, no. 2367: remove all the birds from Hitchcock's The Birds
chocolate disco ball; simple photoshop gradient added to bridge collapse photo
Flag showing photos of Canvey Island Casino, Victoria Pier Folkestone, Spanish City Whitley Bay and West Pier Brighton
bags of concrete, dribbling inert dust, function as a historical hourglass between an unclear 'then' and a problematic 'now'
quirky transgressive solo performances with masks, blood, etc on personal YouTube channel

11.5 x 8 inches each, acrylic on typing paper, 1992

Michael Elmgreen and Ingar Dragset pursue [1] a conscious [2] cultural position [3] that abstracts from [4] issues of power [5], sex [6], and marginalized or subcultural [7] behavioral patterns [8] in an alignment with [9] architectonics [10] and style [11] — as ways of emphasizing the "private" [12] as a reflection of the particular, singular, and non-generic [13] in exploring [14] social subject matters of class [15], privilege [16], gender [17], and nationality [18]. Artforum critic Molly Nesbit joins the artists Elmgreen & Dragset in this first time public presentation in New York City approaching [19] their practice [20] and production [21], as well as their role [22] as theatre directors [23], assemblers [24], and editors [25].

[1] as opposed to achieve
[2] as opposed to working while asleep
[3] as opposed to a subcultural position
[4] redacts
[5] as opposed to actual power
[6] as opposed to actual sex
[7] either or both, they can't decide
[8] as opposed to actual behavior
[9] as opposed to being out of kilter with
[10] the most special kind of architecture
[11] to spice up the architectonics
[12] as opposed to the "public"
[13] not to mention the unitary, unique, and one of a kind
[14] as opposed to finding
[15] as opposed to privilege
[16] as opposed to class
[17] as opposed to sex
[18] the last but not the least of the four subject matters
[19] but never reaching
[20] as opposed to perfection
[21] as opposed to work
[22] or roles
[23] to be explained later
[24] factory workers
[25] of press releases

Excerpt of conversation from Paddy Johnson's blog. The topic is surf clubs where artists appropriate/highlight/alter Internet content and what the nature of that activity is. Slight editorial tweaks were made for clarity, grammar.

Kevin // 21 Apr 2008, 3:35 am:

Sites like 4chan and lolcats are businesses. They make no claims to contain profound content — hits are their sole purpose. Somethingawful.com for example, is covered in ads. Contributors make posts like this one (directly quoted):

“Since Grand Theft Auto IV is a hot topic at the moment and by writing about it we’ll get more hits and ad revenue as people search for the latest information about the game on Google, in today’s article…”

Of course the purpose of these sites is to be “a barometer of future trends” because they live by the success and expansion of their market. They treat the web like an object, trading it like iron and corn.

An art website, by contrast, is a gift. An art website is made outside of a market, regardless of trends. It is made at a loss. Instead of connecting users with other users, an art website can connect us with a profound experience.

I agree with [Paddy's] statement “I don’t wholly subscribe to the line of thought that there is no hierarchy on the web.” You have described John Michael’s piece, for example, as “elegant” therefore placing higher value in it. Online art will not be able to contribute much to the larger cultural conversation until we are able to admit that there is a hierarchy on the web — that there are profound experiences to be had online, and that a criteria can be developed to separate the saccharine billboards from the truly beautiful and nourishing work.

tom moody // 21 Apr 2008, 8:28 am:

In defense of 4Chan I have d/led many GIFs from there that I consider startling, if not profound. I don’t often use them because I consider them too “previously authored” or branded. The site has a certain creative anarchy reminiscent of the Church of the Subgenius’ “Bob” graphics in the Church’s heyday.
The web has a leveling effect–it is all the same medium coming through our entrancing little TV screens, so artists and consumers alike can be forgiven for not differentiating a gift from someone’s job.
That said, I still like the old idea of the potlatch or gift economy existing in tandem with all the commercial insanity.

PS I prefer “leveling” to “flattening” after Thomas Friedman stunk up the joint with his Flat Earth theory.

Art Fag City // 21 Apr 2008, 9:09 am:

Well not everything comes in at the same level — I think everything on those sites [4Chan, etc] appears at the same level which is different. It’s like going to a yard sale - some people love sorting through the junk for the good stuff, others don’t find it so interesting and prefer more presorting to have been done.

I’m uncomfortable saying that everything we see is leveled because so many of the web tools we have seem to have been made in an effort to help users create hierarchy. The fundamental difference here from traditional media seems primarily in the search functions themselves, which keep the hierarchy defined by the user. One of the concerns this panel discussed was the need to keep as much of this ability in our own hands. It seems to me that this is particularly important to artists who don’t need someone sorting through material for them first to tell them whether it’s worth their time.

Kevin // 21 Apr 2008, 1:30 pm:

[Re:] Tom’s defense of 4Chan — by saving some gifs from 4Chan and not others, you admit that the web has a definite hierarchy by admitting that some gifs are better than others. Using the same raw gif material, certain authors have subtly constructed a more “startling” work to your taste, thereby bringing an area of potency to the web (a hierarchy, the opposite of leveling).

Physical artworks are also all constructed of the same medium — molecules. Just because all physical artworks are constructed of molecules does not mean that all physical artworks are leveled. Some artists arrange molecules better than others. Some net artists arrange non-physical information better than others.

The web is like a desert. The peaks and valleys of quality are not very apparent. From a distance the desert seems flat, but it is actually this vast low frequency wave of mediocrity. The slightest rustle in the wave is what we have to watch for carefully if we want to have those profound experiences.

tom moody // 21 Apr 2008, 2:31 pm:

Re: hierarchies–-as Paddy suggests, anything with a registration requirement automatically creates insiders and outsiders. Even in potlatch economies some people have more to give away.

By “leveling” I was talking about the medium-–how everything from a tinkertoy construction to the Sistine ceiling becomes a 72 dpi image on your browser.

Not saying rustles in waves can’t be detected in this arena, only that it’s hard and people need a better idea of how to go about it.

This is where the [photo of a giant cell phone smashing into a car] is a good example:
Did the artist get punked by a corporation? Is he punking us? Does the photo need some additional level of transformation to be art? Is the surf club the same as a white cube frame so that even corporate crap becomes art? Does everything on such a site have to be art? Does it have to be good art? Should one always be able to differentiate between good, crap, and work in process? etc

Art fair or comic con?

Related, Damon's comment on his posting of the cell phone photo on Nasty Nets. I had asked elsewhere "whether a photo of a giant cell phone smashing into a car was (a) art or (b) good art." Damon said:

To be more specific: it was whether or not a staged photograph of a giant cellphone smashing into a car masquerading as a amateur photo of a “natural event” but functioning as a viral advertisement (and maybe hence “insult to injury”) was (a) art or (b) good art.

I’d be reluctant to pick either choice.. but I think Joel’s notion of “watered-down content” is something worth more consideration…

Poster for International Noise Conference on Tour
New York, April 26, curated by Kyle Lapidus and M.P. Lockwood.
No droning! No laptops! No mixers! 15 minute sets!

tour schedule
myspace

Bennett Williamson of the Double Happiness blog, commenting at Paddy's:

I think that non-artist online groups like 4chan and other lulz/meme related outfits also generate and popularize a lot of the content that later become more general cultural memes (generally jokes, as opposed to more ‘artistic’ content).
Web art actions (ranging in form from making posts to the techniques used to cull materials) often subvert standard web use practices, sometimes doing things ‘wrong,’ taking the long way around, noticing patterns, using online tools for non-functional ends, and getting caught up on aesthetic/presentation in places where information is supposed to be paramount.
In terms of a Future for the Internet, I wonder if online art will follow the path of the meme and be able to bring its ideas into a larger artistic/cultural conversation about media (I hope so) without getting lumped in with the expectation that ideas and culture that start on the internet have to be for entertainment or be funny (I hope not.)

Thanks, that responds to:

1. Issues in the Nasty Nets Halloween thread that were never fully discussed because people were fighting.
2. Some issues posed on Rhizome* to Marisa Olson and other surf bloggers.
3. This post about the differences between the surf blogs and B3TA, 4Chan, ebaum's world, or somethingawful.com.

*Update, 2011: The Rhizome link has been changed to http://rhizome.org/editorial/2008/apr/9/let-it-spin/

Petra Cortright, "Horizon Trackx"

In this rather stunning grid of Quicktimes from a larger project (above is a cropped screenshot of the page), artifacts from a rotating plane are enlarged, cropped, and presented side by side in multiple views, dissolving into randomness while suggesting larger things going on. Abstraction's ability to create a screen for projection and imagination makes it an exciting place to be working, as opposed to all the algorithms-with-obligatory-"political"-backstory that comprise so much XYZ new media art. It is not "formal"--one seriously doubts Cortright cares about practical Bauhaus laws of pictorial organization as ends in themselves; those are problems for the designers of the programs she uses. In fairness, the Quicktimes above occur within in a larger project that explores the dismantling and layering of built space(s), but the "big picture" is equally tantalizing and puzzling. The index for the entire piece is here.

Cortright's work echoes Cory Arcangel's "Data Diaries" project (screenshot above), and the flow of pages feels diaristic, but in Arcangel's case the flickering, seductive grids sprang from a paradoxically rational, deductive method--tricking Quicktime into reading a home computer's numeric (alphanumeric?) memory as images. Cortright's work is a more deliberately expressive and conscious page sequence, with each causal transformation yielding some new spatial contortion. Both bodies of work have the feeling of spelunking inner machine space and discovering a boundless world.

Another variant on the "pulsating pixel grid" is David Galbraith's work at Diapason (detail above scanned from ink jet print). Haven't seen it in person yet but it sounds intriguing. Like Arcangel's piece, which whirred and screeched like a CD-scratched fax machine, it has an audio component, in this case lock grooves triggered by the pixels:

lgOpre (luh - GOP - ruh)* is an audiovisual installation of multichannel sound and projected digital animation created with real-time software that links vintage grid pattern algorithms with vinyl record lock-groove samples. The software behind lgOpre, written by the artist, uses customized abstract image generation routines (c.1970), appropriated color schemes, and self-similar number patterns to create an animation that is also a visual controller for a modular digital sound studio. Each of the 34 grid pattern building blocks used for lgOpre is mapped to its own set of processed and unmodified lock-groove samples. The color of the underlying grid is used to select which sound will play as the basic grids from each animation frame are visually highlighted in turn for a determinate duration before advancing to the next frame. Aleatoric color scheme variants introduce a degree of chance to the sound-image mapping.
Compositionally, lgOpre first introduces each visual building block as a full-screen matrix using black and white, grayscale or a few saturated colors to create monochromes or relatively simple patterns accompanied by solo sound samples. The screen splits in half horizontally, then vertically, producing four quadrants with increasing pattern complexity. New color schemes and faster sequencing within a single animation frame trigger the look of blocky color video games or visualized computer core dumps and densely layered multichannel sound.

*locked groove Open research.

Update: Another treatment of this theme comes from the perspective of appropriating pop culture and/or pseudoscience: Robert Wodzinski's animated gif made from 100 found color therapy swatches.

Update 2: pierre has a post about generating pixel grids [update: dead link], coming from a set theory perspective; he sees it as a diy project in computation rather than as an art project, per se, although the resulting patterns are nice to look at and certainly have some connections to gridmeisters John Simon and Manfred Mohr.

found on the Internet--about 100 frames were removed. not to overinterpret but this could be called Iron Man vs Judy Chicago.

Update, Mar. 2010: Posted this before the Robert Downey film took off. Have now changed the post title and GIF name as the image has been extremely popular with hotlinkers. The IM sequel is coming out soon and the meme machine is already gearing up. Get it, Iron Man, gearing up...? Uggh.