[Nettime-bold] Re: <nettime> Discordia Concors: www.jodi.org

[Bill Spornitz <spornitz@mts.net>]

.. or it's: if jodi.org is more a-part of the art... better: 
manufacturing perfect Brittany Spears cd replicas, ( actually iso9660 
images of jodi.org, natch), then leaving them on public transit... 
people will take them home and put them in their cd players ;-> or 
the few un/fortunates that put them in their computers will encounter 
a program which automagically installs jodi.org as your *My 
Documents* tree structure, or adds a desktop shortcut that can't be 
removed <- that's always a good one... <- not that I'm condoning this 
behaviour...


b



>The 'classic' art references here don't seem to jive? I wonder if much of
>the anxiety in the criticism is unresolved fear of _not_ being canonized,
>hence the frequent, forced recourse to Cage, Fluxus, mail art, Arp. It's
>like October magazine were pretending it was the cutting edge of
>techno-criticism! I mean, why is chance hauled out over and over? Is Cage
>really the alpha and omega of 21st-century art?
>
>The criticism doesn't recognize on the one hand that net art represents a
>great rupture with most 20th-c art in terms of distribution, content,
>technology, language, accessibility, politics, and on the other a
>continuity with forms of bureaucracy becoming entrenched in the art world
>in the late 20th-c in terms of collective production, the levelling and
>academicization of discourse, the blurring of critic/artist/curators'
>roles, the speed of response times. So if criticism is to address
>something like jodi it should probably do better in its analysis of
>artworld politics and positioning, just at it should try to address the
>phenomenology and structures of all levels of the machines and languages
>at issue here. The problem with jodi is that it casts its innumerable
>ghosts in the machine under the aegis of art -- there's always an escape
>hatch from the real, into where the art takes place. So there lies the
>continuity with the museum pieces of the 60s, but the intellectual
>heritage isn't there -- it's rather in the deep structures of the
>machines, the internet itself.
>
>Ryan
>
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