[-empyre-] glitch device

[IR3ABF]

> Andreas Maria Jacobs, i respectfully disagree w/what i read to be yr anti-art position in its most generalized application when you write w/sweeping confidence that "the art world's - deadly grip" is sum how a totalized effect/affect which will steal away possibility + "eradicate every possible trace of authenticity, replacing it with its commodified merchandazible fetish derivate." mayhaps you are opposed to Institutional Art or the institutions of art. or mayhaps the oppressive socio-economics of consolidated wealth/power that give rise to exclusionary elitisms... but if so, then these are specifics, not generalities, related to the unruly category of what constitutes 'art' or even "Art". && even if these would be the cases (that those are yr oppositions in specific) then those fears/concerns are warranted in our current context but not sum how predetermined. even the way 'we' (an inclusive term which may not be well-placed here) dfn 'art' +/or "Art" is technosocial + culturally contextualized. the dfns change + art modified over/through times

@Jon Cates,

Well, with all respect, I am somehow missing a clear standpoint in *your* movement in how you posit yourselves in conflicting societal environments, 

I am not discussing the specifics of glitch art 'as is', but about the specifics - are there any distinguishable specifics at all or are these just pronounced without being established? - of glitch art's relation with the established and functioning *art* world in a broader sense, i.e. not necessarily correlated or connected with glitch art.

Has art/Art (including glitch art) in *that* art world any *meaning* besides its commodifiable fetish as art and if so how then to seperate art for the art markets - expressable in wealth accumulation for a small exclusive group, from art related with non-commodifiable non-fetish meaning and inexpressable in wealth, exclusivety etc etc, using alternative value/meaning measuring systems

Without properly formulating an answer or pointing to a direction in a problematic field of mutual societal and economical contradictions, I see a naive and glitchy international partying bunch of youngsters unaware or unwilling to be aware of the dark and gloomy sides of existing art hierarchies and I feel offended being confronted by such ignorance if this naivety is also publicly stated

> also Andreas Maria Jacobs, im confused/troubled by the positions you seem to representing in yr -empyre- email. are you the same artist who makes "prints on paper. Signed & numbered, editions of 3" of domesticated + aestheticized Glitch Art which is exhibited in galleries (i.e. @ GLI.TC/H2010 in Chicago) + sold (or @ least intended to be sold) on art markets? this is what you represent about yrself vry clearly on yr website:http://nictoglobe.com/new/room/New%20Room/2006/

Yes, indeed I do make prints on paper - althought not domesticated or aestheticized - at least when I can afford the material costs which are currently by far too expensive to even think about, considering the physical dimensions I like my works to be. But in case there is interest I am more than willing to produce them in any amount or size you want. You can find the specifics at the same website

Andreas Maria Jacobs

"Antartica: empty colorful people making empty colorful products"

http://nictoglobe.com (Art Magzaine, Amsterdam 1986)
http://burgerwaanzin.nl (La Resocialista Internacional)

Sent from my eXtended BodY
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