I was imprecise. What I meant was: I am not interested in debating the merits of "Pro Tools" with you. You don't regard my fundamental observations as valid; I think ...
I didn't mean to say that "New Media Art" informed your thinking (but you should check it out, it's a good resource). I wanted to give one example of a ...
I have a beef with Christiane Paul and others who write about Cory Arcangel's work like this: "Arcangel's empyreal imagery suggests art-historical references, from John Constable's 19th-century cloud studies in ...
I don't even know where to start with this "artists are communicators" business. Are you aware that, by your criteria, the greatest artists are propagandists and advertisers? Maybe you'd like ...
Good to know. But why do people who make stock 3D models make them? I have no idea, but I'd guess that it's because these statues and buildings are considered ...
"You mention the scale of Beat the Champ, but not whether that scale makes any sense - it doesn't. The work has one step too many: Arcangel takes the games off ...
I've been alerted to a flaw in my Re'Search. Dismagazine's online premiere of Re'Search Wait's includes a pull-up script so viewers can read along as they watch. There is even ...
The problem is that there are too few essays by people whose knowledge of new media art is so complete, so integrated in their being that they actually choke on ...
Ceci mentioned Continual Partial Awareness after she read my draft, so I've been thinking about it a bit over the past two days. For one thing, Continual Partial Awareness (as ...
I agree with Miltos that the internet is more like a territory than a tool. If an artist does a performance in a park, you'd say performance is the medium ...
I didn't try to establish a dichotomy, and I think you're reading that into the post because words like "political" or "formal" can suggest an implicit opposition. I realize that's ...
"Networked Equality" is the name of the event, so by "the topic of Networked Equality" I meant the topic of that panel discussion. I summed up its contents in the ...
You and other commenters have raised some legitimate criticisms of this post, and I'd be happy to talk about them. Unfortunately, because Nikola has threatened to sue Rhizome ...
Marc, didn't you recently ask netbehaviour subscribers to pledge to stop flying? And now you're complaining about Rhizome's provincialism? How do these two positions fit together?
Anyway, I'm not sure if I buy the concept. Why are these works more like "paintings" (or "'paintings'") than any other photographs, computer drawings, or ...
I don't agree that this show is a break from the dominant narrative of art history. It’s just a retelling of the dominant narrative with cards on the wall ...
Tom, I don't agree that my statements about Murata would also apply to the other three videos we're discussing. Especially the one about the "radical deceleration," since that's in ...
Beyond the wow factor, I think Murata's work says something interesting about the conventions of the moving image. He uses the pixel bleed to slow down time, or make its ...
I wouldn't say the function of Rhizome's blog is to "validate tech art," since its readers already recognize the validity of the art covered here. It's about creating dialogue ...
No, I don't take that point. And clearly you don't take mine, which is that the work's reflection on the nature of the internet is what makes it internet art.
I'm not convinced that mass participation would make the project more successful. Making this a huge resource would just mean extending the joke until it's not funny anymore.
A bodega is something you search for with your feet, not the internet. If you need a bodega you just walk down the street until you find one. What makes ...
I was doing some unrelated research, and came across this eight-year-old exchange between Alex Galloway and Michael Samyn of entropy8zuper.org. It makes me think that the dichotomy Tom Moody ...
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