tom moody

Archive for January, 2018

bob and predator

bobrosspredator

Image via "roxannejackson_" on Instagram

- tom moody

January 18th, 2018 at 5:20 pm

Posted in art - others

Joe Biden Backed Bills Making It Harder for Americans to Reduce their Student Debt

Friendly, funny ol' Uncle Joe (who wants to be President) isn't much of a friend to American millennials. David Sirota has a detailed account of Biden's efforts over the years to make student debt survive bankruptcy, by (among other things) pushing the myth of epidemic strategic defaults by college graduates.

Biden helped the banking industry promote the negative portrayal of debtors. During [a] 2000 [Senate] debate, he said the goal of the bankruptcy bill he was backing was “to assure that those who have the ability to pay do not walk away from their legal debts.”

Various bills attempting to protect banks from these nefarious cheats (in reality about 1% of loan defaulters) floated through Congress over the years. Finally, with Biden's pushing, student loans were excepted from bankrupty protection. Writes Sirota,

In 2005, though, lawmakers and financial industry lobbyists resurrected a new version of the legislation -- one that included provisions to make it more difficult for students to get bankruptcy protections not just for their government loans but also for the loans they received from private financial firms. This time around there was no [Paul] Wellstone, a liberal icon who had died in a 2002 plane crash, to lead the Democratic opposition to the initiative. With Biden’s support, the bankruptcy legislation sailed through the Senate in the first few months of the new congressional session. In April, it was signed into law by President George W. Bush, whose top campaign contributor had become MBNA [credit card company and Biden backer].

- tom moody

January 18th, 2018 at 5:19 pm

Posted in around the web

Kara Hammond drawing + Discogs dedication

muscular-yet-congenial-domestic-shorthair

Artwork by Kara Hammond, from her blog.

I would like to dedicate this to the selfless, hard-working Discogs volunteers, who, no matter how wrong they are nor how shallow their reading of the Discogs rules, work night and day to keep the Discogs database free from corruption by removing the contributions of casual users who have not accrued vote power.

See also: hall proctors

- tom moody

January 17th, 2018 at 10:57 am

my show at Honey Ramka extended to Jan. 28

Many thanks to artefuse for this Instagram photo of my show at Honey Ramka gallery. The run of the show has been extended to January 28, 2018.
Am not on Instagram due to a limited supply of dopamine but I appreciate the pics of the show posted at #tommoody (which can be captured and "returned to the commons," at least until Zuck can figure out how to disable screengrabs in people's devices).

Here is a capture of the original post:

artefuse1_650w

“Viewing photos with many (compared with few) likes was associated with greater activity in neural regions implicated in reward processing, social cognition, imitation, and attention” --PubMed

- tom moody

January 15th, 2018 at 9:16 am

Posted in art - tm

"Pre-Post-Internet" documentation, cont'd

My show at Honey Ramka gallery in Brooklyn ends January 21 January 28 [extended one week --tm] . If you are in NYC, I hope you can come: people say "the work looks different in person." Meaning the details of hand-assembly of many of these objects is difficult to convey in photos; photos only approximate the full experience, etc. All that said, I'm continuing to post "crowdsourced documentation" (i.e., photos gallery visitors posted to Instagram and Twitter) since that's the record I'll ultimately have of this momentary blip in time and space. Below is an Instagram pic of Double Buckyball (hashtag #tommoody) by Rachel Selekman, followed by a detail of the same work from Joe Milutis's Twitter @FailureAWLife.

selekmanBuckyball650w

Detail from @FailureAWLife (larger view):

milutis_buckyball_detail650

From the exhibition checklist [4.7 MB .pdf]:

Tom Moody
Double Buckyball
2004
ink, paper, linen tape
74” x 56.5”

The printed material in the molecule's negative spaces consists of pages from a Deviantart.com pixel art discussion forum, from 2004 (that is, pre-post-internet).

- tom moody

January 10th, 2018 at 7:33 am

Posted in art - tm

primordial bliss in the sexy Stone Age

primordial_bliss

This painting had to be commented on. You've got the bearded hunk out walking his wolf, carrying his Thor hammer; the babe posing with her scythe while taking a break from the harvest; feral teenager tanning his back as the wind caresses his blowdried locks; a suspiciously American landscape considering these neolithic farmers are all Caucasian and resemble pinup models from the 1950s (with 1970s hair), at a time when "America" was populated by natives that came across the Bering land bridge. The painting screams anachronism from every pixel. Enjoy, out of context. [via]

- tom moody

January 9th, 2018 at 8:21 am

Posted in art - others

erasing the clouds (and the collective)

Patrick LeMieux offers a rather snide takedown [Vimeo] of Super Mario Clouds, a work he attributes to the artist Cory Arcangel (it was originally exhibited as Cory Arcangel/BEIGE -- more on that below). He re-examines the code and concludes that... drum roll... the work doesn't actually "erase everything but the clouds" on the Mario cartridge. I posted a comment on the Vimeo page:

Patrick, you treat this like a detective story where you discovered a master criminal with clues hiding in plain sight. I was writing about the BEIGE Programming Ensemble on my blog back in 2002-5 and attended their shows and Arcangel's talks and it was pretty clear that "erasing everything but the clouds" was a figure of speech to explain the piece to an un-technical audience (which included curators unsure of this computer art stuff).

In focusing so single-mindedly on Super Mario Clouds, you are ignoring that it was part of a body of work, produced by Arcangel individually and as part of an artistic "collective" (BEIGE). The cartridge works all involved reprogramming the games to some extent. Thus, "Landscape Study" added photographic elements (rooftops) into the Mario scrolling and "Mario Clouds" treated the clouds themselves as discrete icons that could be "put back into the game" without all the other Mario elements.

It's easier to explain this as "erasure" but you are focusing on this aspect single-mindedly as evidence of some kind of fraud. It's not entirely your fault, in that Arcangel and Team Gallery have "erased" the BEIGE origins of the work from Arcangel's bio, but I wish you had done more research before going on the attack like this.

[edited after posting to clarify description of "Landscape Study"]

Most of my BEIGE writing is still up at digitalmediatree.com/tommoody. Of particular interest is (BEIGE member) Paul B. Davis's 2006 video where he talks about "Super Abstract" -- concocted by BEIGE before "Clouds" -- which employs related techniques of chip removal and replacement,* yet didn't become a zeitgeist/canonical work, worthy of attack 15 years later.

As for why Super Mario Clouds became a monster artwork, here are some reasons:

--Team Gallery did an excellent job of presenting it in Arcangel/BEIGE's 2003 show. Those blue rectangles were aesthetically pleasing and the placement of the screens and monitors was both striking and "street." By contrast Team corraled all the other BEIGE product (bead works, dot matrix printouts, etc) into a tiny room off the main gallery, where it could be easily overlooked.

--Those blue rectangles tie into the color field painting history -- Barnett Newman, Brice Marden, etc -- that curators love. Plus Duchampian and Warholian appropriation and other precedents they can flatter themselves for recognizing.

--The time was ripe for "computer art that didn't suck" after notable failures at the Whitney such as the "BitStreams" show.

--There was interest in "collectives" (PaperRad, Dearraindrop, etc) which died right after the 2004 Biennial.

--Arcangel was giving amusing lectures and performances at the time in NYC and had built a certain momentum for his career (with and without BEIGE). Clouds's inclusion in the 2004 Whitney Biennial, followed by the Deitch show with Paper Rad, was the culmination of sustained effort on Arcangel's part. After that BEIGE dissolved and gradually dropped off his resume. (And Arcangel's own work got worse, but that's another blog post.)

*From what I've been able to reconstruct, some cartridges involved changes to the graphics ROM (chip) and others involved changes to the program ROM (chip). BEIGE's practice was pretty fluid and many different ways of "hacking" the Nintendo cartridges were explored. Some of the code from "Super Mario Clouds" appears in at least one other work ("Landscape Study") but Patrick LeMieux didn't consider all the BEIGE cartridges taken together for similarities/differences, he just focused on one for his "gotcha" moment.

- tom moody

January 6th, 2018 at 8:48 am

Posted in art - others

a simple answer to a leading question

Q. Oh, sure, a new platform can enter the market—but until it gets access to the 480 million items Amazon sells (often at deep discounts), why should the median consumer defect to it? If I want garbage bags, do I really want to go over to Target.com to re-enter all my credit card details, create a new log-in, read the small print about shipping, and hope that this retailer can negotiate a better deal with Glad?

A. Yes.

The question is from Frank Pasquale's essay [Naked Capitalism] which is critical of Amazon but takes the viewpoint of the "median consumer" for rhetorical purposes. Let's try it another way:

Q. Knowing what you know about Amazon's appalling labor practices, do you use Amazon for price comparison and then buy the product at another online store, as a way of saying "FU" to Amazon?

A. Yes

- tom moody

January 6th, 2018 at 7:51 am

Posted in around the web