headlines | about |




Back in December we asked members of the thingist mailing list to suggest names for the new thing.platform. Here are the results:

(The winner was Postmistress Magda Sawon with and she's still waiting for her prize.)


Fuel for a creative nation - BBC Open Access


Fuel for a creative nation

The Creative Archive is a BBC led initiative to provide access to public service audio and video archives in a way that allows the British public to find, share, watch, listen and re-use the archive as a fuel for their own creative endeavours. In other words, you can rip, mix and share the BBC.


The Creative Archive is a product of this exciting era of digital media and the internet. It's possible because of innovations in technology and content licensing, along with editorial vision. However, it remains a challenging and complex project with many unknowns. To help us understand the best way to deliver the Creative Archive, we have decided to start with a pilot project.




Mark Tribe has called it in the press release for inSite_05:

Although artists continue to work online in ever greater numbers, net art as a movement is now over. But to say that the net is just another medium along with video, painting, installation, etc. would be misleading. The net is both a medium and a platform, a set of tools for art-making and a distribution channel for reaching people. The net can still enable artists to reach a global audience without the assistance of art world institutions. Equally important, it can enable artists to reach audiences that never set foot in a gallery, museum or performance space. M.T. (* title from ‘Tijuana for Dummies’ by Hiperboreal)"



Slub will do a live-coding performance at Curating, Immateriality, Systems: A conference on curating digital media. Tate Modern, London, 4 June 2005

PIX: Hudson River


A walk along the Hudson River Park on Sunday, May 22, 2005.


Gallery Crawl: 5/21/05


Nina Katchadourian at Sara Meltzer Gallery presents The Genealogy of the Supermarket and Other New Works and while the main piece was impressive and funny in the end it did little more than cue up The Clash in my mental iPod. Rather than being "lost in the supermarket" Katchadourian takes the American fascination with geneology to its consumerist limit by making a family tree out of familiar and not so familiar brands. Good idea nicely articulated (I now know the familial relationship between Aunt Jemima and Mr. Clean) but she left me feeling, as a one-liner, it could have been done more economically.


From the website:

KURATOR.ORG investigates new ideas around curating in the context of 'immateriality' and 'network systems'. It asks: If the assumption is made that traditional curating follows a centralised network model, then what is the position of the curator within a distributed network model?

The project is a recognition of the fact that art and culture in general is increasingly dealing with communication and information systems. It examines curatorial practice that takes into account the transformative nature of digital objects and systems, as well as production processes that are dynamic, collaborative and distributed. The idea of the 'system' is particularly important in this context in that it not only refers to the physical site of curatorial production, the computer and the network, but also to the technical and conceptual properties of what constitutes the curatorial object and the 'operating system' of art.

Selling American Culture to Wal-Mart

Kindred Spirits

Kindred Spirits, 1849
Asher B. Durand
Property of Wal-Mart

The New York Public Library recently sold an icon of American landscape painting, Kindred Spirits (1849) by Asher B. Durand, to Wal-Mart

Readings in Landscape and Technology


Two recent posts to nettime on the general theme of landscape/nature vs technology/machines:

Landscape Painting of the Information Age or Romanticism in Media Art by Armin Medosch

more on the nature/machines debate by Andreas Broeckmann

Fluid Time


ADR- May 13th&19th

I’m beginning to think that our sense of time is rather arbitrary. The way our minds work we organize information to make sense of it. This continues to happen when I sit down to mash-up Art Dirt Redux. Rob says the theme of Chelsea is alienation and obfuscation. I crack a bad joke. Later in our walk we go to the Richard Prince exhibition that has several paintings of bad jokes. While mixing the tracks I overlap our walk through Jasper John and John Simon Jr. What occurs is an overlap discussion of a computer painting program and the structure of Japer John’s paintings, which is also a painting program or logical structure of sorts. As we sit down to eat Rob talks about how his apartment search is becoming a performance piece with him as the audience. I didn’t know we would see the joke paintings yet I cracked a bad joke. The question is how fluid is time?

Syndicate content