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Man sieht, was man sieht ... Isabelle Graw / Anmerkungen zur NetzKunst in Texte zur Kunst

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So gesehen ... sieht man das, was man sieht ... in Texte zur Kunst / pd / Feb. 2002 / wir erinnern uns
Fragt man, wie Isabelle Graw es auf NetzKunst bezieht, ... "nach einem Aequivalent zum Moment des Irreduziblen in der Kunst, der Idee des nicht sofort in Sinn aufgehenden Ueberschusses, sucht man (...) vergeblich", denn "Hypertext ist noch kein Garant fuer Rhizomatik und Sinnverfluessigung"; TZK S.29.
Vielleicht liegt die Vergeblichkeit auf der Ebene einer Rezeptionshaltung, die die anderen vielleicht mitzubedenkenden Felder nicht eingesehen hat: die Programmatik oder dass in einer konzeptionellen Klammer von Ironie und Poesie vorgetragene Anliegen.
Mit Hypertext, Hyperlinks, der Html-Dokumentenbeschreibungssprache und den sechsstelligen hexadezimal RGB-Farbwerten als reduktionistische Mittel auf der aesthetischen Seite seines Projektes eingesetzt, hat Michael Atavar ein geradezu uebersinnlich absurd anmutendes Anliegen .sciis [sensitive cumulative intelligent immersive systems] vorgestellt. So gesehen "sieht man das, was man sieht".
Vielleicht aber steckt der Ueberschuss ganz wo anders. Vielleicht im dropdownMenu: unter > Datei > Ansicht > Quelltext > findet man "the making of: four stars, intimacy, intimacy, thethingasitis, duolc, three dots" von Atavar. Derart umsichtig wuerde der Rezipient den medienspezifischen Ansatz selbst herausspiegeln und als schoenes Programm als Kunst erkennen koennen. Damit waere "wie etwas gemacht ist" eine kuenstlerische (konzeptionelle) wie praktische (html-programmatische) Fragestellung, bei der sich die Antwort hinter den eindeutigen Script-Anweisungen versteckt haelt, die interpretatorischen Sinn nur fuer Browser und Systeme machen.
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michael atavar
I love html colours
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<FONT SIZE="6" FACE="Helvetica, Arial"> especially the brilliant blue that's on the screen no<A HREF="#" onMouseOver="MM_goToURL('parent','thethingasitis04.html');return document.MM_returnValue">w</A>
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it has a luminous quality that you can't find anywhere else
the light of the monitor shining through the colour (like a beautiful blue sky)
html colours are completely undervalued
they're usually seen as tools, building blocks, creating the perfect www page
used only as a palette of choices
but actually I look at each individual colour as a complete thing in itself
or what I would call thethingasitis™
Teilt man diese Ansicht, diese Art und Weise der Betrachtung und Annahme von Kunst, Netz und ihren transparenten Oberflaechen, wird man die ueberkommenen Spezifik-Verweise der Netzartisten und Aktivisten eher als Stolpersteine aus dem Weg haben wollen. Dass sich diese Sicht und Sinnverweise als Steigbuegelhalter fuer ein Aufsteigen der Netzkunst auf den kunstspezifisch breiten Ruecken der Kunst herausstellen koennten, daran will man vorerst nicht denken.
Ich will in diesem Zusammenhang die Arbeiten von Michael Atavar nicht bewerten oder interpretieren, ich gebe drei Beispiele der derzeitigen NetzKunst, die sich ganz unterschiedlich zeigen, die nicht aus TZK entnommen sind.
Noch halten die Kuenstler im Netz die dort manifestierten oder dictionierten Medienspezifika fuer politische Variablen, deren aesthetische Fuellungen sie in NetzKunst verwandeln.
Siehe auch: ...
Thirteen Ways of Looking At Net Art, Or: A Short Dictionary of Terms
site-specific: each term has its own meaning, its own rhythm, its own 13 words
environmental: the space-time discontinuum as performed by the multitudes, virtuality guaranteed (no hidden extras)
conceptual: not thinking about it, but directing it as if it were your own
performance: an eerie feeling that ones sensibility is being hijacked by a mediumistic impulse
literary: not in idea-things, but the idea-things in themselves, ovulating (in endless repetition endlessly)
relational aesthetics: being in the right place at the right time and accepting your fate
appropriation: "The day that I was to be slaughtered was a very busy day."
art in public places: severing identities and playing roles that even well scripted Professors refuse to doctor
dematerialization of the art object: a symbolic analyst interpreting raw data while devouring Time in a blurrrrrr lifestyle
aura: when history has a way of making a clean break from it all
outsider: brute force with nothing to lose and everything to gain (keep hope alive)
large glass: that knowingly aphrodisiacal quality that she sends from on high while penetrating depths
mainstream: determining what can no longer be accepted as the only alternative to death
Mark Amerika's 13 words - z.B. als ein der net.art vorgespannter analoger Filmtitel von Rick Silva
Siehe auch: ...
koreawebart.org/YOUNG-HAE_CHANG_HEAVY_INDUSTRIES
Young-Hae Chang
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Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, Y0U SING 0N, WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ WHILE Y0UR SISTER'S FIANCÉ H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK H0LDS Y0U AR0UND THE BACK WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND WITH 0NE HAND AND THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT THE 0THER TAPS 0UT A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM A TIPSY RHYTHM WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. WITH 0NE CH0PSTICK. HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, HIS FRIENDS SMILE, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, SM0KE AND DRINK, AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING AND AS Y0U SING Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER Y0U W0NDER WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. WHAT THEY'RE D0ING HERE. A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK A LULL IN THE TALK MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE MAKES Y0UR V0ICE RES0NATE AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING AS Y0U SING "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." "UNDER THE AWNING WE STAND AL0NE." Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER Y0UR FATHER APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, APPEARS IN THE D00RWAY, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, DRINK IN HAND, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, CIGARETTE IN M0UTH, T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE T0WERING 0VER EVERY0NE SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. SITTING 0N THE FL00R. S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN S0ME 0F THE Y0UNG MEN N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. N0D AT HIM. HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U HE L00KS D0WN 0N Y0U AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AND SAYS AS DISTINCTLY AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: AS HE CAN WITH PURSED LIPS: "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" "GUISEING" (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), (K0REAN F0R GEISHA), THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS THEN TURNS AND WALKS BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. BACK INT0 THE 0THER R00M. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. Y0U ST0P SINGING. IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE IN THE STARTLED SILENCE AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, AR0UND THE L0W TABLE, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, Y0UR SISTER WHIMPERS, SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SLUMPS AGAINST THE Y0UNG MAN SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, SITTING BESIDE HER, AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. AND FALLS T0 THE FL00R. HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, HER ARMS AND LEGS SHAKE, F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS F0AM F0RMS AT THE C0RNERS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS 0F HER M0UTH, AND HER PUPILS HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP HAVE W0RKED THEMSELVES UP BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, BEHIND HER EYELIDS, WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. WHERE THEY STAY. HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, HER FIANCÉ SETS D0WN THE CH0PSTICK, TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT TAKES THE CIGARETTE 0UT 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, 0F HIS M0UTH, AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. AND STUBS IT 0UT. HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, HE TAKES HIS EMPTY GLASS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, PUTS IT T0 HIS LIPS, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, BITES IT HARD, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, AND BREAKS 0FF A PIECE, WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS WHICH HE CHEWS AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, AND SPITS 0UT, WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. WHILE C0NTINUING T0 H0LD Y0U. HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, HE BITES 0FF AN0THER PIECE, WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP WHICH CUTS HIS LIP AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. AND DRAWS BL00D. HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, HIS FRIENDS F0LL0W SUIT, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, BITE 0FF GLASS, CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. CHEW AND SPIT. Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND Y0U TRY T0 STAND T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, T0 G0 T0 Y0UR SISTER, BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND BUT THE HAND AR0UND Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, Y0U H0LDS TIGHT, AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN AND IN FACT M0VES D0WN T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH. T0 GRASP Y0UR THIGH.
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Siehe auch: ...
koreawebart.org/artist/Candy_Factory
Mike Bode + Takuji KOGO
Architects : EISENMAN ARCHITECTS THE ZENIDAKA CORPORATIONS + DESIGN COMPANY OF NUNOTANI COMPANY Built in 1991 Edogawa-Ku Tokyo " The land mass of Japan is located on top of the point of collision between the western Pacific continental plate and the Pacific oceanic plate. Friction from the subterranean movement of these two plates into each other has, over millions of years, created the island of Japan through volcanic activity below the ocean surface. Today this activity continues and from the tectonics of plate movement produce earthquake activity. Surface waves which move through the striated landscape in and around Tokyo periodically compress and expand the continious plate structure of the Edogawa district. Thus within this zone the Nunotani building is seen as a metaphoric record of the continious waves of movement as the plates overlap. Simultaneous to this analogue, over project represents an attempt to rethink the symbolism of the vertical office building. Traditionally the vertical building had two metaphoric connotations, the one as a metaphor of anthropocentrism - the human vertebrae as upright, symmetrical, and skeletal - the other, a symbol of power and dominance, in particular phallogocentrism, the sexual structure of power and dominance. Our building symbolically attempts to undermine these two centrisms, first by producing a building that is not metaphorically skeletal or striated, but rather made up of a shell of vertically compressed and translated plates, and second, by producing an image hovering somewhere in between an erect and a "limp" condition. As such the building provokes a discussion which is already commonly understood in related discourse." --Peter Eisenman
NOTICE Address : 2-2-21, Nanba-naka, Naniwa-ku, Oosaka city, Japan Bankrupt : NUNOTANI corporation This property is now managed and occupied by the Osaka District Court based on the adjudication of the Osaka court of law No.8296 (f), 2000. No one can move or transport anything from this property without permission of the Osaka District Court. If you move or transport anything from this property without permission, you may be punish by criminal law. 27th November 2000 Bankrupt : NUNOTANI corporation Receiver : Kanae Chida, Lawyer Address : 4F Okina bldg., 3-2-9 Nishi-tenma, Kita-ku, Osaka city, Japan TEL 06-6312-1621
NUNOTANI BUILDING
Mike Bode + Takuji KOGO
Siehe auch: ...
im Rueckbezug auf die bildende Kunst im Umgang mit der Fotografie,
Juergen Klauke hatte sich vor Jahren den schoenen Titel: "die Formalisierung der Langeweile" fuer ein Werk ausgedacht, das neben einem Videotape aus Zeichnungen, Grossfotos, Fotosequenzen, einer Performance und einem Film besteht: "auch das Fernsehprogramm ist nicht in der Lage, die Einfoermigkeit der Szenen zu durchbrechen. Es scheint im Gegenteil, die Vereinzelung der Darsteller zu betonen. Das Werk (...) markiert das Ende seiner narzisstischen Selbstbespiegelung und kuendigt eine zunehmende Oeffnung zur Gesellschaftsdiagnose an."
Ein adaequater Einschnitt in bezug auf das Denken und Handeln selbstreferenzieller NetzKuenstler und Artisten zeichnet sich am Horizont des Jetzt.Netz' ab. Ob sich die Formalisierung der Interaktivtaet aus den festgeknuepften Informationsanweisungen des Hypertextes mit seinen eindeutigen "entweder.oder.Links" loesen laesst, bleibt abzuwarten.
Tilman Baumgaertel sieht diese not-Wendigkeit und schreibt: "Tatsächlich sind viele Netzkunstarbeiten der Gegenwart gerade eine Kritik dieser reichlich simplen Annahme. Zahlreiche Netzkünstler haben sich kritisch oder anlehnend zu der angeblichen Interaktivtaet der Netzkunst geäußert." Telepolis 1/99
Wir werden sehen, ob sich das "Verfertigen der Gedanken beim HyperTexten" im Umgang mit computergestuetzten Medien einstellen laesst. Und ohne vorausgreifen zu wollen: sicherlich sind dem scriptbewanderten Htmlern die einzelnen Phasen eines Hyperlinks bekannt, der als Chamaeleon von < LINK=BLUE zu ALINK=WHITE beim Anklicken wechselt (hier fuer hundertstel Sekunden Sinnenfreiheit einraeumt oder suggeriert) und im VLINK=PURPLE> anzeigt, dass die Gedankenuebertragung stattgefunden hat.
Da kommt der Liga der bildenden Kunst ein Vermittler als ein Wortfuehrer der Netzkunst entgegen: Alexej Shulgin wies auf den Punkt zwischen net und art hin, durch den der hehre Kunstanspruch gebrochen und Netzkunst auf Dateiname zurechtgestutzt sei; vgl. bei Graw TZK S.21. Moeglich ist aber auch, dass nach dem Punkt der Satz zu Ende ist.
Ebenso waeren der T©d des Autors weniger die Moeglichkeit des ©riginals mithilfe einer mehrfarbigen Schattierung aus der ideologischen Bodenhaltung und/oder Abstrafung herauszunehmen.
Man sieht, was man sieht von Isabelle Graw
Anmerkungen zur NetzKunst / 1999
in Texte zur Kunst
8. Jahrgang Heft 32, S.18 - S.31
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copyright: bei den Autoren + Redaktion Scrollheim: Ana Dimke (ad), Peter Dimke (pd), Ulrike Haussen (uh), Karl-Josef Pazzini (pz)
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