Re: [-empyre-] what work are women doing now?

[Judy Malloy <judymalloy@judymalloy.net>]

Hi Regina,

I particularly enjoyed the non-shopping Santa on your web site!

The book has a chapter by Simone Osthoff: "Brazilian Counterparts: Old Histories and New Designs
that covers the work of Jocy de Oliveira,  Sandra Kogut, Rejane Spitz, Giselle Beiguelman
and quite a few others.  

Lygia Pape is also mentioned. Can you tell something of the interactive art she did in 1959?
I don't know about this and would very much like to know more.


>have you discovered a feminine
>language in the artists you analyse in your book? Do you think that the way
>man and woman create on the web nowadays is different, depending on the
>gender?

In the book I tried to give each artist their own voice and to represent a multiplicity of voices -- particularly
those who helped shape the field. I wanted to set forth the evidence of the strong and influential work 
women were doing in the field, in their own words and in the words of critics and art networkers, such
as Anna Couey.

I think that it is quite possible that someone who analyized web works could find some general patterns
that indicated that men and women approach media art differently, but it was not what I set out to do.

Best,
Judy


Hello Judy, Melinda and all,

Perhaps you know me, my name is Regina (<http://arteonline.arq.br>http://arteonline.arq.br). I wrote,
ten years ago, a thesis about three brazilian artists: Celeida Tostes, Lygia
Clark and Lygia Pape. Nowadays only Lygia Pape  is alive.The three built an
amazing and interesting work. Lygia Clark is very well known out of Brazil,
she did the first interactive work I know in 1959 - she antecipate in her
writings most of the things which are happening nowadays. Fascinating!

Here in Brazil,  the last century was a century of  the  women's
participation and the feminine condition has a free flow in the art. The
important fact of the colection of works I studied is the fact of the
artists have done through her a double movement: a ticket of the culture
into nature and a return from nature to  culture. The sensory acquisition of
the knowledge is present in their works too. Their works shows a comon
language which I denominated a feminine language in the art, it means that
they did not use masculine standards and I think it is very important.

They did not work with computers because they were born in the begining of
the last century. Perhaps Lygia Pape are using a computer now, but I do not
know.

What I would like to know from Judy is, have you discovered a feminine
language in the artists you analyse in your book? Do you think that the way
man and woman create on the web nowadays is different, depending on the
gender?

Apologies because of my bad English.

Yours,

Regina

----- Original Message -----
From: "Melinda Rackham" <<http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre>melinda at unsw.edu.au>
To: "soft_skinned_space" <<http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre>empyre at lists.cofa.unsw.edu.au>
Sent: Wednesday, December 03, 2003 10:09 PM
Subject: [-empyre-] wot work are women doing now?


> judy and all hi
> great to have you as a guest and  sorry about my late response - im
> travelling at the moment..
> the historical aspect of the book is incredibly important as i see so many
> histories where women are just erased..or there is  one woman
reperesenetd..
> i think we still need to follow the trajectory form  the 70's where womens
> work from mainstream art history was uncovered, profiled and repositioned.
>
> my new project follows along form all my other work, exploring the
> sensoriality and seductiveness of technological scapes   ..its in early
> conceptual development and looking for funding (aren't we all!!), and its
an
> immersive  3d work called "in.finite" which marries the  infinite and
> spiritual with the luscious and earthy- like an exquisite Japanese
> landscape.
> in.finite is a  multiuser  networked  based 3d scren and projected scape,
> with user interaction sensor driven within a contained space so that human
> movement  triggers the navigation thru the environment.. (im  toying with
OS
> games engine  but im not sure yet)
>
> the  whole space is white as opposed to the black spaces that VR worlds
At 11:09 AM 12/4/03 +1100, you wrote:
>judy and all hi
>great to have you as a guest and  sorry about my late response - im
>travelling at the moment..
>the historical aspect of the book is incredibly important as i see so many
>histories where women are just erased..or there is  one woman reperesenetd..
>i think we still need to follow the trajectory form  the 70's where womens
>work from mainstream art history was uncovered, profiled and repositioned.
>
>my new project follows along form all my other work, exploring the
>sensoriality and seductiveness of technological scapes   ..its in early
>conceptual development and looking for funding (aren't we all!!), and its an
>immersive  3d work called "in.finite" which marries the  infinite and
>spiritual with the luscious and earthy- like an exquisite Japanese
>landscape.
>in.finite is a  multiuser  networked  based 3d scren and projected scape,
>with user interaction sensor driven within a contained space so that human
>movement  triggers the navigation thru the environment.. (im  toying with OS
>games engine  but im not sure yet)
>
>the  whole space is white as opposed to the black spaces that VR worlds
>usually are .. so  it could be seen to be meditative, exploring the
>afterlife or death,  the internal landscape , or just plain old misty
>crevices in oriental valleys .. its also the energetic electronic glow or
>the spark that keeps our computers running.. the potentiality of void.  i
>visualise the space with soft silver and neonesque tones with  organic
>translucent and permeable inhabitants
>.. it is  simultaneously macrocosmic and  microbiological and visualises
>concepts from quantum physics.. and i want it to give a sensory experience
>of bathing in space which is what extreme whiteness does..
> immersion in Marie Antoinette's milk bath perhaps ...
>
>it would eb great to hear what others are doing...
>
>melinda
>
>
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