[-empyre-] participants and the critical blog

Thanks, Maurice. There's something particularly intriguing about this site's relation to the detritus of your own practice, particularly since detritus itself seems to provide both the content and form of critical practice here.

I'm wondering, to follow up, how you understand the related role of your participants: those of 'the dump' and those of your interactive environments. Do you anticipate or stage a difference in critical solicitation or interpellation? Is this related to spatial practice, itself.

I think the same questions would pertain to Alice's movement between her Chernobyl practice and her blog. Would would you say about this Alice?



This is a relevant question about how a practice online affect our spatial
practice. The Dump (www.the-dump.net) is about the project left in an open
Dump because either I'm not sure to want to realize them, I don't feel this
project belong to my practice, this project has been refused, it was
conceived a long time ago and has never been actualised because of
economical, ideological or technical matters.
For me the Dump is good way to escape the authorised perimeter of practice.
When people want me to be a media artist, as they wanted me to be a computer
artist, a film director, a 3d animation director, a professor, a
businessman, an architect... When you want to escape from tags, stickers and
other authorised categories you have to find a space of freedom where you
can pretend or accept to be what you could do, that always exceeds what you
are supposed to do.
Some projects of the Dump, performing arts, concept art (I define the terms
there) sculpture, relays on the question of space. As samples of that kind
of project:
Art Total (in French)
Inside Out
SASed Art, Secure Automatic Selection (in French)
In this series of project, most of them will never exist, that I'm dropping
as often I find time they are project that are eventually picked up by
passers by and will be done:
COBA Coming out Bag Art (click on the flag for the English)
and on the picture for the video.
Stolen Life (in French)
L'essence de l'Art Contemporain (Contemporary Art Spirit)
I decided to post only projects, whatever the topic I would like to dive in.
This is supposed to be my job.


-- Timothy Murray Professor of Comparative Literature and English Director of Graduate Studies in Film and Video Studies Curator, The Rose Goldsen Archive of New Media Art, Cornell Library 285 Goldwin Smith Hall Cornell University Ithaca, New York 14853

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