irl convo about dump.fm

"You're really into dump, aren't you? [Skeptical look]
"Yeah, sure. I mean it's not always so great when there are 30 penises onscreen..."
"That's what I mean." [Look of intense disapproval]
"But you can always just leave, or if you have 1-2 friends on you can make fun of the dicks and/or change the subject..."
"It might be OK if you could go find your own dump room somewhere..."
"A few of those rooms exist, but it's not so great when only 3 or 4 'artistes' are present --you need the input that's constantly coming in from outside."
"Uh, dump's just too much like... the Internet" [Look of disgust]
"Yes, well..."
"I guess I'm just jaded." [Walks away to deal with some distraction]

Conversation continues mentally: "Oh, you're complaining that the site doesn't filter the Net enough but you're the one that's jaded. That's a laugh and a half."

Hat tip Duncan Alexander (who was not one of the parties above) for the phrase "internet hardened": many go back and forth on whether that's a virtue. Pre-dump, I spent a couple of years surfing journalpics.net, a LiveJournal GIF scraper that was also constantly pulling up chan, b3ta, and fazed material in addition to LJ. Lots of sludge to go through for the occasional nugget of pure internet gold. The main question to ask about a cumshot loop or an exploding head isn't whether it sends you to the fainting couch, it's whether it has any intrinsic interest or is just some moron wasting your time. As for whether the psychic residue of internet sex and violence will kill you, the committed surfer develops something like a bird's nictitating membrane, the semi-transparent third eyelid that winks shut suddenly to protect its eyes from airborne debris. "Deal with it."

Update: The fun continues: "Dump would have been invented eventually anyway...".

"Sanity Disobedience" Artists' Talk tonight

Am going to be standing next to my projector tonight at BYOB NY and will unfortunately miss an artists' talk for the show "Sanity Disobedience for a New Frontier" at Camel Art Space in Brooklyn. I'm bummed these events are the same night and I can't send a body double to Spencer Brownstone. Here is a press notice for the talk:

On the evening of Friday, November 12, artists participating in the current exhibition "Sanity Disobedience for a New Frontier" will gather for the interactive panel discussion about the show. The discussion is a 2nd Friday Art Walk event that starts at 7pm and will include an audience Q&A session. "Sanity Disobedience" is an exhibition that addresses the concept of technological assimilation in the digital age and its relationship to counter-cultural, anti-conformity assumptions. Curated by Rod Malin. Artists include: Allen Cordell, Tom Moody, Jamie O'Shea, Sophia Peer, Tristan Perich, Meridith Pingree, David Prince, and Janos Stone.

The exhibition runs from October 22- November 28.
Regular gallery hours are: Weekends only, 12 – 6 pm or by appointment
Location: Camel Art Space 722 Metropolitan Avenue, Brooklyn NY 11237

Flavorpill on "Sanity Disobedience."

projectors

noisia_colorbars20020-H-space20-H-space20-H-spaceprojectors

color bars are a stretched version of a GIF by noisia; projectors are by a large corporation (forgot who originally posted them to dump.fm, sorry - update: it was mirrrroring)

BYOB (Bring Your Own Beamer) - Nov 12

More detail on the BYOB NY show tomorrow night at Spencer Brownstone gallery (from the announcement page):

Friday, November 12, 2010, 6-10 PM
Spencer Brownstone Gallery,
39 Wooster St, New York City.

PARTICIPATING ARTISTS:

AGNES BOLT, ARTIE VIERKANT, BILLY RENNEKAMP, BRITTA THIE, BRIAN CLOSE, CALLA HENKEL & MAX PITEGOFF, CHARLES BROSKOSKI, DAMON ZUCCONI, DUNCAN MALASHOCK, DANIEL CHEW, DENA YAGO, HAYLEY SILVERMAN, JEREMY BAILEY, JESSE ENGLAND, JOEL HOLMBERG, JOHN MICHAEL BOLING, JOYCE JORDAN, KARI ALTMANN, KRIST WOOD, MAI UEDA, MARLOUS BORM, MICHELLE CEJA, MIKE RUIZ, RENE ABYTHE, RILEY HARMON, RYDER RIPPS, SARAH WEIS & ARTURO CUBACUB, TOM MOODY, TRAVESS SMALLEY, TRAVIS HALLENBECK, WOJCIECH KOSMA.

Spencer Brownstone Gallery is pleased to present the New York edition of BYOB, a one-night-exhibition exploring the medium of projection. 25 artists are invited to bring their own projectors to create a collaborative happening of moving light, sound and performance.

An acronym for Bring Your Own Beamer, the evening will propose a glimpse of computing in the future. Today the internet is confined to screens. Tomorrow information will surround us, composing our surfaces, defining our spaces, enmeshing itself with the ether. No longer simply part-and-parcel of everyday life, it will become a medium in which the everyday exists.

Featuring a generation of artists that grew up behind the screen, BYOB will have an open and dynamic structure that not only allows for spontaneity and experimentation, but also places questions concerning the formalism and engagement of the exhibition directly in the hands in the artists. A moving image is never an object, and when it is coupled with the increased flexibility of portable projection, the realm of experience quickly expands. The individual works will often overlap and sometimes even merge, producing a total environment that is more than the sum of its parts. Ultimately, this loose, free form format will mirror the chaos of the internet. Gallery visitors will stroll in a forest of browser windows much in the same way one browses sites on the web.

Curated by Rafaël Rozendaal

BYOB exhibitions were done previously in Athens and Berlin. A YouTube of the Berlin incarnation gives a foretaste of Friday's show.

Dry Cell

dry_cell_Rauschenberg

Gagosian has a Robert Rauschenberg mini-retrospective at its Chelsea satellite gallery. Lots of so-so work mixed with good pieces, an ahistorical mingling of early and late. Was glad to spend some time with Dry Cell, 1963, reproduced above.

Jim Long, writing in the Brooklyn Rail, described the piece as follows:

In [this] assemblage a military helicopter is screened on a piece of Plexiglas attached to the frame of a folding camp stool mounted on the wall. A sound sensor activates a small motor that spins a shrapnel-like fragment of metal; it’s terrifying.

The motor wasn't operating at Gagosian--possibly it might have frightened the venerable and well heeled patrons milling about last Saturday and made one or more of them think about exerting some social pressure on that nice military contractor in their co-op, you know, the one that keeps pushing these silly foreign wars for profit. Vietnam flashbacks aside, what I find interesting in Dry Cell is its complex spatial layering of angled lines, a formal puzzle to rival the social vectors of mass destruction: the camp stool is one set of such lines; another is screened onto the pane of glass attached to the stool, and a third resides in the outlines of a swaybacked '60s Army helicopter (just visible in the above photo). An incongruous coat hanger complicates matters even further. The assemblage has a rough, dirty quality, like a prototype robot that has just come back from the field with holographic combat images, mounted for its final debriefing.