Arthur Bueno on Sat, 29 Jul 2000 00:58:44 +0200


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Syndicate: Fw: [ 0100101110101101.ORG ] They're Not Just Mean


> From: PROPAGANDA@0100101110101101.ORG
> Date: Thu, 27 Jul 2000 00:32:26 +0200
> Subject: [ 0100101110101101.ORG ] They're Not Just Mean
> 
 >From "Britannica", Jul 21, 2000
> http://www.britannica.com/brit/0,8532,150,00.html
> 
> 
> They're Not Just Mean
> "Who are you? What do you do?" Britannica.com asks
> 0100101110101101.ORG and gets a slap in the face answer.
> 
> 0100101110101101.ORG
> 
> This week Britannica.com provides an interview with the renegade
> cyber-entity known only as 0100101110101101.ORG, along with some
> background information.
> 
> 
> 
> 
> B: Who is 0100101110101101.ORG?
> 
> 0100101110101101.ORG never answers this kind of question. Anonymity is
> not merely a "proper name" matter but deals also with backgrounds and
> biographies. 0100101110101101.ORG's activity is not concerned with
> artistic individuality.
> 
> B: Who is your favourite Futurist?
> 
> Benito Mussolini. The fascist revolution has been the most coherent
> development of avant-garde utopias. The overcoming of the barrier
> between art and life - the slogan of the historical avant-garde - and
> the dream of modelling reality according to aesthetic canons found
> their most implacable and rigorous author exactly in Mussolini.
> 
> B: Does America need a national missile defence system to defend
> itself against nuclear attack?
> 
> No.
> 
> B: How are Web art and music related?
> 
> It is happening more and more frequently that musicians produce their
> music starting from sampling -Negativland is one of the most concrete
> examples - and from rearrangement of sounds, taken from the infinite
> number of available sources. Anyone is therefore, at the same time, a
> producer of raw materials, transformer, author, interpreter, and
> listener, in a circuit of cooperative creation and fruition.
> 0100101110101101.ORG proposes the same practice in art; the "hybrids"
> are just some samplings of the materials we have at our disposal.
> Nowadays the problem of creativity is not creating something new but
> learning how to use what already exists.
> 
> B: Is the subversion of viewer expectation an important part of your
> artistic technique, or are you just mean?
> 
> 0100101110101101.ORG is interested in the subversion of the means. A
> good movie, like a good painting or a good novel, conveys the energy
> that its author has put into it; the subversion of the means becomes a
> metaphor for subversion tout court and wakes up the consciousness of
> the beholder. A movie by Jean-Luc Godard, for example, is successful
> because it imposes the beholder to take up a position. It is not so
> much a matter of renewing contents as of renewing the mechanisms of
> fruition. Only by deconstructing such mechanisms can we understand
> and, if necessary, modify them. We do not need other objects of art,
> but works of art able to make the beholder more conscious.
> 
> B: What advice would you give readers interested in starting their own
> Web art collection?
> 
> To look in their cache folder.
> 
> B: Could you summarise your position concerning the concepts of
> "author" and "originality"?
> 
> Theoretically every work of art can be reproduced, but with Net art
> the reproduction is absolutely identical to the original one. It
> follows that it becomes a "non-sense" to perpetrate such concepts that
> seemingly functioned in the real world. The notion of author in
> general, and therefore concepts like authenticity and plus-value, are
> strictly connected to the economic, institutional, and juridical
> aspects of traditional art. After the invention of printing, so with
> the automation of text reproduction, it became necessary to define the
> rights of the author as inventor and not only as artisan. The figure
> of author was born in a very particular economic and social
> organisation - it's only too natural that it fades into the background
> when the system of communications and social relations changes. The
> non-prominence of the author conditions neither the cultural
> production nor the artistic creativity. Net art requests new
> production, preservation, and fruition criteria that often conflict
> with the old rules of the art system, like the necessity of critics
> and museums. The creation of new forms of commercialisation of
> intellectual property appears to be evidently necessary.
> 
> B: What are you currently working on?
> 
> At the moment 0100101110101101.ORG is engaged to solve the
> contradictions of capitalism.
> 
> B: Are there any links readers should check out?
> 
> nSk, Johannes Baader, Negativland, R.D. Laing, Richard Stallmann,
> Alfred Jarry, I/O/D, Godard, Pan Sonic, Marcel Duchamp, Leni
> Riefenstahl, Luther Blissett, etoy, Alexander Brener, Mongrel, Werner
> Herzog, Nezvanova, Kraftwerk, Carpenter, RTMark, Bertolt Brecht, Sex
> Pistols, Rainer Werner Fassbinder and Ernest Hemingway.
> 
> 
> 
> 
> 
> May 29, 1998
> 
> 0100101110101101.ORG invents the life and works of an imaginary
> Serbian artist named Darko Maver. The project lasts two years and
> involves dozens of people from several cities, culminating with the
> disclosure of the prank the day after Maver is presented at the 48
> Biennial of Contemporary Art in Venice.
> 
> Dec. 15, 1998
> 
> The activists buy the domain name vaticano.org, which they use to
> create and maintain, for an entire year, an "official" organ of
> information for the Holy See, a huge site aesthetically identical to
> the real one but with slightly modified contents.
> 
> May 11, 1999
> 
> Creation of the "hybrids": files obtained by mixing together stolen
> works from other Internet artists.
> 
> May 11, 1999
> 
> A copy is made of Hell.com, the most popular Net art museum. The
> mirror site is published in an anti-copyright version without password
> protection. After only two hours 0100101110101101.ORG receives the
> first threat of legal proceedings for copyright violations from the
> creators of Hell.com. However, the mirror site remains.
> 
> June 9, 1999
> 
> The activists download and modify Art.Teleportacia, the first art
> gallery to appear on the Web. The gallery's exhibition, "Miniatures of
> the Heroic Period," is renamed "Hybrids of the Heroic Period" and the
> works on display are radically altered. A long debate on the Web
> follows between Olia Lialina, creator of Art.Teleportacia, and the
> supporters of 0100101110101101.ORG's tactics.
> 
> Sept. 12, 1999
> 
> A clone of the web site belonging to Net artists Jodi is published on
> the web site of 0100101110101101.ORG, this time without any
> modifications, to demonstrate that certain ideas and practices - such
> as the authenticity and uniqueness of an artwork - must be considered
> obstacles to the development of Web art.
> 
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> HTTP://WWW.0100101110101101.ORG
> >>>>
> >>>>
> >>>> PROPAGANDA:
> **** HTTP://WWW.0100101110101101.ORG/PROPAGANDA
> >>>>
> >>>>
> 

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