[-empyre-] Week One on Through the NET: Net Art Then and Now

Fri Sep 9 03:50:09 AEST 2016

Craig,

I like the indirect way you respond to my question about parodying an
algorithm.

"An important effect of net-art may involve this productive
misunderstanding -- so, works that seek to challenge directly social
science and public policy as the dominant and domineering explanations and
implementations of networks and net-works. "

In the word "internet-art," by shifting the focus from "inter" to "net,"
are you net engaging exactly in that kind of "productive misunderstanding"?
Yes, kudos to you! Yes, "misunderstanding" is exactly the virus, the
parody, the kick in the balls -- the sand in the well-oiled wheels -- the
internet as a super-efficient method of authoritarian control needs.

I think a most radical case of such "misunderstanding" would occur
exploring the network of words; in other words, an exploration of network
as digital art becomes an exploration of poesies-- a critique of the
digital from its antithesis, the verbal. My last two poems *The Spiritual
Life of Replicants* and *Animals of Dawn* (to come out in a few weeks) deal
exactly with words as a medium of disruption and revolt. Interesting, an
essay on translation I wrote in 1991 "Translation and Style" asserts that
every good translation that affects changes in the language starts with a
misreading of the original text, breaking down its autonomy.

Ciao,
Murat

On Thu, Sep 8, 2016 at 9:57 AM, Craig Saper <csaper at umbc.edu> wrote:

> ----------empyre- soft-skinned space----------------------
>
> Instructions #4
>
> Whisper down the lane.
>
> Although the constraints of this discussion include the focus on one
> particular media technology, "internet" art, with "tools such as email,
> listservs, web sites, databases, software, and hardware," the prefix, net-,
> may include an "internet of things," art for the bots or non-human persons,
> and other as of yet un-thought formations beyond one particular technology.
> More importantly, these sets of instructions suggest that the net- of
> net-art has to do with a set of effects and functions rather than a
> specific medium. If you are an administrator, then you might worry to keep
> net- in a medium specific category so it does not spread with virality into
> the social sciences, urban planning, or public policy. You, now playing the
> role of an administrator and manager of a networks, may worry that
> Bourriaud's "relational aesthetics" may escape from the confines of art,
> gallery-systems, and ... begin to form what Saper has called "sociopoetics"
> (a term he borrows and re-functions).
>
> During the 72-day Paris Commune of 1871, the revolutionaries used a
> communication technology that perhaps prefigured the internet; they used balloons, carrier
> pigeons, or letters packed in iron balls and floated down the Seine. All
> three communication-systems had a similar quirk (not calling it a flaw --
> although it was a mortal flaw for the "commune-ists") that meant that the
> messages were not guaranteed to reach their intended destinations: drifting.
>
>
> An important effect of net-art may involve this productive
> misunderstanding -- so, works that seek to challenge directly social
> science and public policy as the dominant and domineering explanations and
> implementations of networks and net-works. What if the moderators' focus
> set out at the start of these discussions were misunderstood by the host(s)
> who took off on a line of flight drifting off the intended course toward a
> p-bot -empyre- building. What are the works of net-art that use this
> "whisper down the lane" effect? Do any of your works use this effect? Is a
> listserv a whisper down the lane formation?
>
>
> /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\\\\\/\/\/\/\\\\\\/\/\///////
>
> On Sep 7, 2016, at 4:54 PM, Craig Saper <csaper at umbc.edu> wrote:
>
> Hi Murat —
>
> Thank you for picking up my winking-nod to the 18th century as my
> Instructions below will continue (and although beyond the scope of this
> exchange and series of instructions, the net- and net-art seems like a
> sub-category of the epistolary and the squib [the squib is given short
> shrift]. Nevertheless, look at Sheryl Orings’ work, for example, where she
> types, stamps, and sends letters to presidents and presidential candidates;
> her work performed and set in Berlin or around the World Trade Center is
> particularly interesting in this regard of sending letters as part of
> “Collective Memory.” In any case, I can’t take that up here. Another point
> that I cannot elaborate on here is the 18th century philosophers (Murat
> mentions Locke; K.A. Wisniewski examines Hopkinson’s hoaxes and stunts
> around the time he was signing the Declaration of Independence) as amateurs
> in a time of upheaval and revolt. The net-art and “conceptual [or
> medium-less] art” in general suggest where the best “philosophy" is
> happening.
>
> Instructions #3
> When the artist Ray Johnson produced net-art he sent a half-completed
> collage, scribble, or his iconic bunny-doddle to a “reader” (to borrow
> Murat’s term below) he would include a simple instruction to complete (or
> at least continue) the work and send it on to a name and address. The name
> was usually a celebrity among the readers — like the librarian at MoMA,
> Clive Phillpot, or Andy Warhol … and the address accurate. It was known
> that someone like Phillpot would, against the wishes of his administrators,
> save and archive all of these “on-sendings.” So, the “reader” would be
> stuck in a desirous network — send it on and be ensnared in clock-maker’s
> scheme (Ray Johnson would manipulate you as reader-as-part-of-the-work) —
> It was like a Lacanian paranoid phantasmagoria where the subject or reader
> is a part of the poem (not a poet).
>
> So, become a reader by yielding to the initiative of the network.
>
> That said, the net-art already discussed often mimics, parodies, or spoofs
> the pernicious notions of the network as the new locus of surveillance (see
> Hassan Elahi’s work that surveils himself as if working for the NSA),
> terror (see Ricardo Dominguez’s work), control of contested spaces and
> borders (see J. Craig Freeman’s augmented reality interventions), and
> public interactions (see many of the social action artists — or
> scholar-artists like Lone Koefoed Hansen or Søren Pold) — I include Pold in
> this short list because he has put poem-making and reading machines in
> libraries throughout Denmark. The Pirate Party also Beuys' the many
> political organizations (and including manifestoes that led to the origins
> of the Green Party).
>
> So, instruction #3 is to borrow the network and systems — perhaps with a
> parodic tone — as an element of net-art.
>
> Ciao and thanks,
> Murat! — an important name in the 18th century — especially in Naples.
>
>
>
>
>
>
>
>
>
>
>
>
> On Sep 7, 2016, at 1:31 PM, Murat Nemet-Nejat <muratnn at gmail.com> wrote:
>
> ----------empyre- soft-skinned space----------------------
> Craig,
>
> Thank you for the clarity and boldness of your first gambit.
>
> "Often, though the artist-function is algorithmic and instructions for an
> open-system, the artist function is both more controlling (see the
> definition of a p-bot) -- watch-maker like -- and less (once it is out
> there among the undefined networks of other p-bots). In celebrating early
> work on rhizomes.org, there is a discussion of Petra Cortwright's explicitly
> unintentional artwork on YouTube that emphasized her amateur status. The
> amateur is not a professional."
>
> I like your 18th century reference. Then, the net-artist becomes the
> Newtonian god or, more precisely, the job (that of the clock-maker who then
> disappears) assigned to god in that universe.
>
> What happens to "the reader" in that net-universe then. One should not
> forget that in Newtonian metaphysics (science) one can not change anything;
> but only "discover" the laws governing events, fact. If so, there is
> nothing open-ended in net-art. The "reader" (any interacter with the
> work) can only discover the depth (the digital wisdom, you might say) of
> the algorithm. Making the net-artist through his/her programing basically a
> god, are you not making him/her infinitely powerful, the very opposiye of
> the open-endedness you suggest net-art creates? Can we not say the opposite
> is as true? The reader (ultimately I would claim the artist
> himself/herself) is helpless.
>
> Ciao,
> Murat
>
> On Wed, Sep 7, 2016 at 1:01 PM, Craig Saper <csaper at umbc.edu> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> Instructions #2
>> Zooming in on our opening gambit to turn -empyre- into a net-art
>> experiment (or a set of instructions that could potentially do so in some
>> theoretical future), then we can appreciate the shift from demarcating to
>> listing/using a series of functions and effects.
>>
>> Two attributes in art that use the situation of a network as a canvas.
>> The first is to "write" the work as an open-constraint set of instructions
>> (either algorithmic or listing). One can send/apply the instructions either
>> to bots, people, or (in the case of listserv) to an unknown identity (let's
>> call ourselves p-bot effects). We see this in Fluxus works (precursors to
>> net-art? or an example of it?) and in the twitter-bot experiments like
>> Helen Burgess' "Loving-Together with Roland's Bots" and Anna Coluthon
>> (@annacoluthon), Tully Hansen’s team-powered bot @botALLY retweets and tags
>> bot-generated tweets, “NRA Tally (@NRA_Tally)” or“Save the Humanities
>> (@SaveHumanities)” by Mark Sample, “Pizza Clones (@pizzaclones)” by Allison
>> Parrish.
>>
>> The second (closely related to the effect above) is to notice that,
>> unlike other arts, dependence on a singular virtuosity and aesthetic
>> innovation, net-art appears to have another notion of the artwork; the
>> genius is distributed in the system -- throughout the network, and the
>> amateur and hack are nodes in that system. Often, though the
>> artist-function is algorithmic and instructions for an open-system, the
>> artist function is both more controlling (see the definition of a p-bot) --
>> watch-maker like -- and less (once it is out there among the undefined
>> networks of other p-bots). In celebrating early work on rhizomes.org,
>> there is a discussion of Petra Cortwright's explicitly unintentional
>> artwork on YouTube that emphasized her amateur status. The amateur is not a
>> professional.
>>
>> What are the instructions?
>>
>> //\/\/\/\/\\/\/\/\/\\/\/\/\/\/
>>
>> On Sep 6, 2016, at 10:28 PM, Craig Saper <csaper at umbc.edu> wrote:
>>
>> ----------empyre- soft-skinned space----------------------
>> Tim, Thanks for the introduction — and although we didn’t get to Ithaca
>> this summer — fond memories. It seems fitting to have the theme this week
>> correspond to the 20th anniversary of Rhizome.org <http://rhizome.org/>.
>> Congratulations to Mark Tribe and the network of folks who transformed a
>> listserv (like -empyre -- just sayin') into something else for networked
>> art (putting that notion of transformation of a listserv into something
>> else ("commissions, exhibits, preserves, and creates critical discussion
>> around" net-art) as the implicit instruction/open-constraint for our
>> discussion) . . . . still having a difficult time defining networks? Ten
>> thousand books with “network” in their title, subtitle, or series title
>> have appeared since my Networked Art appeared in 2001, and reading just a
>> few of these titles begins to sound like a conceptual poem: Networks of
>> Outrage and Hope; Network Forensics; Understanding Social Network; How
>> Networks are Shaping the Modern Metropolis; Virality: Contagion Theory in
>> the Age of Networks; Disrupting Dark Networks; Network Like an Introvert;
>> Network Marketing; Network Management; The Network; Actor-Network Theory
>> and Tourism; Charles Dickens's Networks; Social Network Analysis; Nomads
>> and Networks; Networked: The New Social Operating System; Networks Without
>> a Cause ... (with thanks to K.A. Wisniewski for digging up some of this
>> list). Network is networked in every conceivable publisher's category:
>> Computers & technical manuals. Science. Art. Photography. Biographies &
>> Memoirs. Literature, Graphic novels, and literary criticism. Education.
>> History. Politics.  Sociology. Law.  Humor. Religion. Philosophy.
>> Self-help. ... Trade publishers. University, or Small presses.
>> Self-published. Television or Internet. ... Networks, Networking, Networked
>> . . . Nouns. Adjectives.  Verbs.  Or, read as both or neither.  Something
>> else? It's a one-word cliché either disliked and pernicious or liberating
>> and utopian; it is a network of control in the "capitalocene" (the complex
>> networks that have transformed lives for everybody on this planet whether
>> they like it or not) or the anarchist rhizomatic hacktivists' web. Not in
>> the same ways, but deeply still.  Instead of it's meaning, what are it's
>> moods, textures, poetics, amateur-hack-artist function, and visceral
>> affects? That's what I hope we can explore here.
>>
>>
>>
>>
>> On Sep 6, 2016, at 10:08 PM, Timothy Conway Murray <tcm1 at cornell.edu>
>> wrote:
>>
>> ----------empyre- soft-skinned space----------------------Welcome back
>> everyone from summer or winter, depending on your location.
>> Renate and I have enjoyed the quiet of Cayuga Lake in Ithaca after
>> returning from Shanghai where we opened a new Summer School in Theory
>> between Cornell University and East China Normal University.  Our time off
>> in August gave us an opportunity to think about anniversary nodes of the
>> net and net.art, just as I was being challenged in keeping various pieces
>> of 1990s net.art online for my exhibition, Signal to Code: 50 Years of
>> Media Art in the Rose Goldsen Archive
>> (http://rmc.library.cornell.edu/signaltocode/).  So we thought it might
>> be
>> interesting to open September with a discussion of Net Art Then and Now.
>>
>> This week, I will look forward to the opportunity to think back on the
>> excitement of curatorial projects in net.art when the community imagined
>> that the challenging artworks of the net might reach a broader audience
>> than now seems to have been the case.  I will be joined by Craig Saper, a
>> challenging thinker of the network.  Craig Saper (US) is Professor in
>> the Language, Literacy, and Culture Doctoral Program at UMBC in Baltimore,
>> Maryland, US. Craig published Networked Art and, as dj Readies, Intimate
>> Bureaucracies ‹
>> both about net-art then (and now). His work on net-art also appears in the
>> Whitechapel Gallery's Networks, in their Documents of Contemporary Art
>> series and forthcoming in Beyond Critique: Contemporary Art in Theory,
>> Practice and Instruction. Hisrecently published "cross between an
>> intellectual biography Š and a picaresque novel,² and "a biography of a
>> lost twentieth century," The Amazing Adventures of Bob Brown, tells the
>> comic story of a real-life Zelig and the ultimate networker.  He has also
>> edited or co-edited scholarly volumes including Electracy: Gregory L.
>> Ulmer Textshop Experiments
>> <http://www.thedaviesgrouppublishers.com/ulmer%20electracy.htm> (2015), a
>> special issue of the scholarly journal Hyperrhiz on mapping culture
>> <http://hyperrhiz.io/hyperrhiz12/> (2015), special issues of Rhizomes on
>> Posthumography <http://www.rhizomes.net/issue20/saper/index.html>(2010),
>> Imaging Place <http://www.rhizomes.net/issue18/saper/> (2009), and Drifts
>> <http://www.rhizomes.net/issue13/> (2007), and many other volumes since
>> 1990. Craig¹s curatorial projects include exhibits on ³Assemblings²
>> (1997), ³Noigandres: Concrete Poetry in Brazil² (1988) and ³TypeBound
>> <http://www.readies.org/typebound/>² (2008), and folkvine.org
>> <http://folkvine.umbc.edu/> (2003-6). In addition, he has published two
>> other artists¹s books On Being Read (1985) and Raw Material (2008).
>>
>> Over the weekend, Renate and I enjoyed a lakeside lunch at a casual
>> restaurant on Cayuga Lake, and recalled that our last meal there was in
>> the pleasant company of Craig Saper.  So, Craig, we are very happy to be
>> back in conversation with you here on the network rather than the lake.
>> We look forward to receiving your opening post.
>>
>> Tim
>>
>>
>>
>>
>> Timothy Murray
>> Professor of Comparative Literature and English
>> Taylor Family Director, Society for the Humanities
>> http://www.arts.cornell.edu/sochum/
>> Curator, Rose Goldsen Archive of New Media Art
>> http://goldsen.library.cornell.edu
>> A D White House
>> Cornell University,
>> Ithaca, New York 14853
>>
>>
>> >
>>
>> <default[2].xml>_______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
>>
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
>>
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
>>
>
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
>
> On Sep 7, 2016, at 4:54 PM, Craig Saper <csaper at umbc.edu> wrote:
>
> ----------empyre- soft-skinned space----------------------
> Hi Murat —
>
> Thank you for picking up my winking-nod to the 18th century as my
> Instructions below will continue (and although beyond the scope of this
> exchange and series of instructions, the net- and net-art seems like a
> sub-category of the epistolary and the squib [the squib is given short
> shrift]. Nevertheless, look at Sheryl Orings’ work, for example, where she
> types, stamps, and sends letters to presidents and presidential candidates;
> her work performed and set in Berlin or around the World Trade Center is
> particularly interesting in this regard of sending letters as part of
> “Collective Memory.” In any case, I can’t take that up here. Another point
> that I cannot elaborate on here is the 18th century philosophers (Murat
> mentions Locke; K.A. Wisniewski examines Hopkinson’s hoaxes and stunts
> around the time he was signing the Declaration of Independence) as amateurs
> in a time of upheaval and revolt. The net-art and “conceptual [or
> medium-less] art” in general suggest where the best “philosophy" is
> happening.
>
> Instructions #3
> When the artist Ray Johnson produced net-art he sent a half-completed
> collage, scribble, or his iconic bunny-doddle to a “reader” (to borrow
> Murat’s term below) he would include a simple instruction to complete (or
> at least continue) the work and send it on to a name and address. The name
> was usually a celebrity among the readers — like the librarian at MoMA,
> Clive Phillpot, or Andy Warhol … and the address accurate. It was known
> that someone like Phillpot would, against the wishes of his administrators,
> save and archive all of these “on-sendings.” So, the “reader” would be
> stuck in a desirous network — send it on and be ensnared in clock-maker’s
> scheme (Ray Johnson would manipulate you as reader-as-part-of-the-work) —
> It was like a Lacanian paranoid phantasmagoria where the subject or reader
> is a part of the poem (not a poet).
>
> So, become a reader by yielding to the initiative of the network.
>
> That said, the net-art already discussed often mimics, parodies, or spoofs
> the pernicious notions of the network as the new locus of surveillance (see
> Hassan Elahi’s work that surveils himself as if working for the NSA),
> terror (see Ricardo Dominguez’s work), control of contested spaces and
> borders (see J. Craig Freeman’s augmented reality interventions), and
> public interactions (see many of the social action artists — or
> scholar-artists like Lone Koefoed Hansen or Søren Pold) — I include Pold in
> this short list because he has put poem-making and reading machines in
> libraries throughout Denmark. The Pirate Party also Beuys' the many
> political organizations (and including manifestoes that led to the origins
> of the Green Party).
>
> So, instruction #3 is to borrow the network and systems — perhaps with a
> parodic tone — as an element of net-art.
>
> Ciao and thanks,
> Murat! — an important name in the 18th century — especially in Naples.
>
>
>
>
>
>
>
>
>
>
>
>
> On Sep 7, 2016, at 1:31 PM, Murat Nemet-Nejat <muratnn at gmail.com> wrote:
>
> ----------empyre- soft-skinned space----------------------
> Craig,
>
> Thank you for the clarity and boldness of your first gambit.
>
> "Often, though the artist-function is algorithmic and instructions for an
> open-system, the artist function is both more controlling (see the
> definition of a p-bot) -- watch-maker like -- and less (once it is out
> there among the undefined networks of other p-bots). In celebrating early
> work on rhizomes.org, there is a discussion of Petra Cortwright's
> explicitly unintentional artwork on YouTube that emphasized her amateur
> status. The amateur is not a professional."
>
> I like your 18th century reference. Then, the net-artist becomes the
> Newtonian god or, more precisely, the job (that of the clock-maker who then
> disappears) assigned to god in that universe.
>
> What happens to "the reader" in that net-universe then. One should not
> forget that in Newtonian metaphysics (science) one can not change anything;
> but only "discover" the laws governing events, fact. If so, there is
> nothing open-ended in net-art. The "reader" (any interacter with the
> work) can only discover the depth (the digital wisdom, you might say) of
> the algorithm. Making the net-artist through his/her programing basically a
> god, are you not making him/her infinitely powerful, the very opposiye of
> the open-endedness you suggest net-art creates? Can we not say the opposite
> is as true? The reader (ultimately I would claim the artist
> himself/herself) is helpless.
>
> Ciao,
> Murat
>
> On Wed, Sep 7, 2016 at 1:01 PM, Craig Saper <csaper at umbc.edu> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> Instructions #2
>> Zooming in on our opening gambit to turn -empyre- into a net-art
>> experiment (or a set of instructions that could potentially do so in some
>> theoretical future), then we can appreciate the shift from demarcating to
>> listing/using a series of functions and effects.
>>
>> Two attributes in art that use the situation of a network as a canvas.
>> The first is to "write" the work as an open-constraint set of instructions
>> (either algorithmic or listing). One can send/apply the instructions either
>> to bots, people, or (in the case of listserv) to an unknown identity (let's
>> call ourselves p-bot effects). We see this in Fluxus works (precursors to
>> net-art? or an example of it?) and in the twitter-bot experiments like
>> Helen Burgess' "Loving-Together with Roland's Bots" and Anna Coluthon
>> (@annacoluthon), Tully Hansen’s team-powered bot @botALLY retweets and tags
>> bot-generated tweets, “NRA Tally (@NRA_Tally)” or“Save the Humanities
>> (@SaveHumanities)” by Mark Sample, “Pizza Clones (@pizzaclones)” by Allison
>> Parrish.
>>
>> The second (closely related to the effect above) is to notice that,
>> unlike other arts, dependence on a singular virtuosity and aesthetic
>> innovation, net-art appears to have another notion of the artwork; the
>> genius is distributed in the system -- throughout the network, and the
>> amateur and hack are nodes in that system. Often, though the
>> artist-function is algorithmic and instructions for an open-system, the
>> artist function is both more controlling (see the definition of a p-bot) --
>> watch-maker like -- and less (once it is out there among the undefined
>> networks of other p-bots). In celebrating early work on rhizomes.org,
>> there is a discussion of Petra Cortwright's explicitly unintentional
>> artwork on YouTube that emphasized her amateur status. The amateur is not a
>> professional.
>>
>> What are the instructions?
>>
>> //\/\/\/\/\\/\/\/\/\\/\/\/\/\/
>>
>> On Sep 6, 2016, at 10:28 PM, Craig Saper <csaper at umbc.edu> wrote:
>>
>> ----------empyre- soft-skinned space----------------------
>> Tim, Thanks for the introduction — and although we didn’t get to Ithaca
>> this summer — fond memories. It seems fitting to have the theme this week
>> correspond to the 20th anniversary of Rhizome.org <http://rhizome.org/>.
>> Congratulations to Mark Tribe and the network of folks who transformed a
>> listserv (like -empyre -- just sayin') into something else for networked
>> art (putting that notion of transformation of a listserv into something
>> else ("commissions, exhibits, preserves, and creates critical discussion
>> around" net-art) as the implicit instruction/open-constraint for our
>> discussion) . . . . still having a difficult time defining networks? Ten
>> thousand books with “network” in their title, subtitle, or series title
>> have appeared since my Networked Art appeared in 2001, and reading just a
>> few of these titles begins to sound like a conceptual poem: Networks of
>> Outrage and Hope; Network Forensics; Understanding Social Network; How
>> Networks are Shaping the Modern Metropolis; Virality: Contagion Theory in
>> the Age of Networks; Disrupting Dark Networks; Network Like an Introvert;
>> Network Marketing; Network Management; The Network; Actor-Network Theory
>> and Tourism; Charles Dickens's Networks; Social Network Analysis; Nomads
>> and Networks; Networked: The New Social Operating System; Networks Without
>> a Cause ... (with thanks to K.A. Wisniewski for digging up some of this
>> list). Network is networked in every conceivable publisher's category:
>> Computers & technical manuals. Science. Art. Photography. Biographies &
>> Memoirs. Literature, Graphic novels, and literary criticism. Education.
>> History. Politics.  Sociology. Law.  Humor. Religion. Philosophy.
>> Self-help. ... Trade publishers. University, or Small presses.
>> Self-published. Television or Internet. ... Networks, Networking, Networked
>> . . . Nouns. Adjectives.  Verbs.  Or, read as both or neither.  Something
>> else? It's a one-word cliché either disliked and pernicious or liberating
>> and utopian; it is a network of control in the "capitalocene" (the complex
>> networks that have transformed lives for everybody on this planet whether
>> they like it or not) or the anarchist rhizomatic hacktivists' web. Not in
>> the same ways, but deeply still.  Instead of it's meaning, what are it's
>> moods, textures, poetics, amateur-hack-artist function, and visceral
>> affects? That's what I hope we can explore here.
>>
>>
>>
>>
>> On Sep 6, 2016, at 10:08 PM, Timothy Conway Murray <tcm1 at cornell.edu>
>> wrote:
>>
>> ----------empyre- soft-skinned space----------------------Welcome back
>> everyone from summer or winter, depending on your location.
>> Renate and I have enjoyed the quiet of Cayuga Lake in Ithaca after
>> returning from Shanghai where we opened a new Summer School in Theory
>> between Cornell University and East China Normal University.  Our time off
>> in August gave us an opportunity to think about anniversary nodes of the
>> net and net.art, just as I was being challenged in keeping various pieces
>> of 1990s net.art online for my exhibition, Signal to Code: 50 Years of
>> Media Art in the Rose Goldsen Archive
>> (http://rmc.library.cornell.edu/signaltocode/).  So we thought it might
>> be
>> interesting to open September with a discussion of Net Art Then and Now.
>>
>> This week, I will look forward to the opportunity to think back on the
>> excitement of curatorial projects in net.art when the community imagined
>> that the challenging artworks of the net might reach a broader audience
>> than now seems to have been the case.  I will be joined by Craig Saper, a
>> challenging thinker of the network.  Craig Saper (US) is Professor in
>> the Language, Literacy, and Culture Doctoral Program at UMBC in Baltimore,
>> Maryland, US. Craig published Networked Art and, as dj Readies, Intimate
>> Bureaucracies ‹
>> both about net-art then (and now). His work on net-art also appears in the
>> Whitechapel Gallery's Networks, in their Documents of Contemporary Art
>> series and forthcoming in Beyond Critique: Contemporary Art in Theory,
>> Practice and Instruction. Hisrecently published "cross between an
>> intellectual biography Š and a picaresque novel,² and "a biography of a
>> lost twentieth century," The Amazing Adventures of Bob Brown, tells the
>> comic story of a real-life Zelig and the ultimate networker.  He has also
>> edited or co-edited scholarly volumes including Electracy: Gregory L.
>> Ulmer Textshop Experiments
>> <http://www.thedaviesgrouppublishers.com/ulmer%20electracy.htm> (2015), a
>> special issue of the scholarly journal Hyperrhiz on mapping culture
>> <http://hyperrhiz.io/hyperrhiz12/> (2015), special issues of Rhizomes on
>> Posthumography <http://www.rhizomes.net/issue20/saper/index.html>(2010),
>> Imaging Place <http://www.rhizomes.net/issue18/saper/> (2009), and Drifts
>> <http://www.rhizomes.net/issue13/> (2007), and many other volumes since
>> 1990. Craig¹s curatorial projects include exhibits on ³Assemblings²
>> (1997), ³Noigandres: Concrete Poetry in Brazil² (1988) and ³TypeBound
>> <http://www.readies.org/typebound/>² (2008), and folkvine.org
>> <http://folkvine.umbc.edu/> (2003-6). In addition, he has published two
>> other artists¹s books On Being Read (1985) and Raw Material (2008).
>>
>> Over the weekend, Renate and I enjoyed a lakeside lunch at a casual
>> restaurant on Cayuga Lake, and recalled that our last meal there was in
>> the pleasant company of Craig Saper.  So, Craig, we are very happy to be
>> back in conversation with you here on the network rather than the lake.
>> We look forward to receiving your opening post.
>>
>> Tim
>>
>>
>>
>>
>> Timothy Murray
>> Professor of Comparative Literature and English
>> Taylor Family Director, Society for the Humanities
>> http://www.arts.cornell.edu/sochum/
>> Curator, Rose Goldsen Archive of New Media Art
>> http://goldsen.library.cornell.edu
>> A D White House
>> Cornell University,
>> Ithaca, New York 14853
>>
>>
>> >
>>
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