tom moody

More interactive, as-yet-unreconstructed web art--this time GIFs made with Duncan Alexander's build-a-building-that-looks-suspiciously-like-a-Peter-Halley-painting utility.
Previous example

The above drawings were originally full-screen but were resized for the blog. Since browsers no longer read GIFs, these simulations were made using HTML5 from an app that draws horizontals and verticals in the cloud and pays Google and Apple 5 cents per rectangle. Just kidding about that last part!

(modification by 82times of a drawing by Sara Ludy)

this version somewhat degraded by jpeg compression

Made using "add a pillow" app, an HTML5 cloud based program that pulls pillows from department store websites into your iPhone (TM) where they can be added to the artwork of your choice. Naw, just BS-ing--but it sounds plausible--coming soon to an "art and technology" website.

(modification of a drawing by Michael Manning)

Interior 1 is ruffling some decorator sensibilities. [drawing deleted from CCDS - the comments by "paul" were so stupid they were making me vomit]

Loosely inspired by Bertrand Lavier.

screenshot of interactive work, Unfolding Object, by John F. Simon, Jr. (2002)
Guggenheim Museum

OK, nine years is too new to be vintage--thought it was older when the post title was written and now I don't want to change it. Also, not known is whether it works because it's been tinkered with to keep it functioning on current browsers. (Another Simon piece, Combinations, for example, was made before pop-up blockers.)

These works "found on the internet" have almost nothing in common beyond grids of circles. Bury was a European proto-Op kinetic artist and Downing was a member in good standing of the Washington Color school, painting large "stain" style canvases on cotton duck.

Am guessing the Downing work above is vastly larger than the Bury in real life. The Bury suggests lunar phases as well as cartoon googly eyes all looking left. Am not sure of the medium.

Downing was a student of Kenneth Noland's and worked almost exclusively with dots and uninflected pigment. Like Paul Feeley's work, his canvases give a softening touch to otherwise precise, machinelike patterns.

Speaking of Noland & Co, Washburn gallery is showing some early 1960s Ray Parker paintings. Am looking forward to seeing them later in the week. Parker would be considered a second generation Abstract Expressionist but that '60s work, with its large bold color blobs, forges a missing link between Rothko and the Noland school.

To bring our theme of computer-represented abstraction full circle (commencing with the jpegs above), here is a simulated Ray Parker, painted last night.

topical remix of TM-ucce post

Am continuing to make notes for my talk at EFA on Wed., Dec. 7. The topic now includes consideration of "whether the concrete poetry movement of the 1950s anticipated the mechanics of the Internet, as some have said, or whether the movement still exists in a 'street' form on websites such as Tumblr.com and Dump.fm."

Augusto de Campos, Lygia, 1953
Marjorie Perloff, Stanford U: This love poem juxtaposes the “red” title word with green, yellow, blue, and purple word groups to create a dense set of repetitions with variations and contrasts. The need for translation is minor here, since Augusto himself has invented a multilingual poetics that oddly anticipates what is sometimes known in poetry circles today as “The New Mongrelisme.” Lygia contains English, Italian, German, and Latin words and phrases, bristling with puns and double entendres. Thus finge (“feints” or “tricks”) in line 1 becomes finge/rs (line 2). Do Lygia’s fingers play tricks? The third and fourth lines confirm this possibility with the anagram digital and dedat illa(grypho). As Sergio Bessa has explained, in lines 3-4, Augusto deconstructs the Portuguese verb datilografar (“typewriting”) in order to insert his beloved’s name into the scene of writing: grypho, moreover, can be read both as ”glyph” and “griffin.” By the time we reach line 5, Lygia has morphed into a lynx, a feline creature (felyna), but also a daughter figure (figlia), who makes, in a shift from Italian to Latin, me felix (“me happy”). Note too that Lygia contains as paragram the suffix -ly (repeated five times, twice color coded so as to stand out from the word in which it is embedded)—a suffix that functions as teaser here, given that the adjective it modifies (happily? deceptively? treacherously? generously?) is wholly indeterminate. The German phrase so lange so in line 8, puns on Solange Sohl, whose name Augusto, as he tells it, had come across in a newspaper poem and had celebrated as the ideal beloved in the Provençal manner ses vezer (“without seeing her”) in his 1950 poem O Sol por Natural. In line 10, the second syllable of Lygia morphs into Italian to give us gia la sera sorella—“already evening, sister,” where sorella may be addressee or an epithet for sera, the longed-for evening. The poem then concludes with the English words so only lonely tt- and then the solitary red letter l, recapitulating the address to Lygia, but this time reduced to the whisper or tap of tt- and a single liquid sound.

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by Lolumad
my talk topic next week is going to be "Concrete Poetry vs 'Doing Internet'" (or words to that effect)
am scouting around for examples of work that might superficially prove Kenneth Goldsmith's thesis that concrete poetry anticipated the internet but in fact proves nothing of the kind

remix of michael manning phone art; hat tip Nullsleep for stick and ball molecule