Dylan Romer shot a nice video at BYOB Miami using the Time Pile iPhone app.
More Time Pile videos here.
I think this app is perfect for documenting a BYOB,
more true to the experience than regular video.
Saturday, 3 December 2011, 15:00, WJ-Spots at iMAL. An all day event in Brussels with many big names from Internet Art and beyond. Lectures, live websurfing, and hopefully a meaningful exchange of ideas.
Raphaël Bastide & Yannick Antoine, Michel Bauwens, Josephine Bosma, Heath Bunting, Paolo Cirio, Florian Cramer, Régine Debatty, Constant Dullaart, Jodi, Olia Lialina, Alessandro Ludovico, Nicolas Malevé, Miltos Manetas, Julian Oliver, Domenico Quaranta, Rafael Rozendaal, Sakrowski, Gordan Savicic.
It’s no surprise that user-friendliness is a concept developed on the West Coast.
Saying “like” is the unused 97 percent of your brain trying to make its presence known.
Time time time. It’s such a current subject. It’s like money-if you don’t have it, you think about it too much.
We old folks mistake the current deluge of information, diversity, and chaos as the ‘End of History.’ But maybe it’s actually the Beginning.
And I wondered then, how do we ever know what beauty lies inside of people, and the strange ways this world works to lure that beauty outward?
Life goes back to the primary relationship: Geek and Machine.
Ever notice how, like, nobody ever goes shopping on Star Trek? They’re a totally post-money society. If they want a banana they simply photocopy one on the replicator.
There’s one thing computing teaches you, and that’s that there’s no point to remembering everything. Being able to find things is what’s important.
Sure, I know I’m a geek, and I know that predisposes me to introversion.
The one thing that differentiates human beings from all other creatures on Earth is the externalization of subjective memory-first through notches in trees, then through cave paintings, then through the written word and now, through databases of almost otherworldly storage and retrieval power.
More and more I hear people talking on the subject of the preservation of internet art. It is a new medium and no one knows what exactly will happen. Will we still browse the web in 15 years? Will information be injected straight into our mind without any screens?
Art works should last a long time. I love seeing old art, and I think it’s not until an artist dies that we get the big picture of their work.
Many media came before the internet. Lots of those media were lost, and some were saved. Paintings, sculptures, books, celluloid, vinyl, tapes, they can all rot and wither. The internet is different. It is a universal, decentralized, universal library, controlled by no one.
When a file exists on the internet, it gets copied. If it is an interesting file, many copies are made. The data is no longer connected to any single physical medium, it exists on many locations at the same time. Old lost music and movies resurface as torrents. These torrent files exists on many machines and media at the same time. Those same movies might have deteriorated on celluloid. I think the internet is the safest place for data.
Operating systems, programs and protocols change all the time. The survival of software is both by emulation and translation. If you look at old video games, they have always survived. They are kept alive by communities of enthusiasts. Passionate geeks re-code old software for new platforms.
The context might change, but we will always be able to revisit old software in some form.
Transferring software to new platform is peanuts compared to preserving traditional art.
Sharks deteriorate in formaldehyde.
If something is interesting, it will survive. As long as someone cares, a copy will exist.
I myself decided that for my personal and absolute power, the essential thing was to have lots of money. I always live where the most money is. I live here now because I’m always in the middle of a cascade of checks that keep pouring in like diarrhea.
The thing that really counts is the almost imperialist structure of my genius. Painting is only an infinitesimal part of that genius. I express myself, as you know, with jewelry, fiowerbeds, eroticism, mysticism.
If you compare me with classics any classical painter whatsoever, then I’m an absolute nonentity.
As is the case with every work of art that counts, it took me a long time to see the original; when I was young I was content to gaze at grade C reproductions. (…)
Yes. And I didn’t enjoy the original as much as the reproductions. That’s one of my permanent mottos: I always encourage people to reproduce my paintings because I find the reproductions much better than the originals.
I am a terrible miser. When I have a lot of money, I like to get more, and then more, and more and more.
I’ve always said I was: I am at two antipodes of myself: alternately humble and convinced of my regal superiority.
A.B.: When was the last time you cried? S.D.: Way, way back. I had deposited some cash to buy a property only to be told that the property had already been sold.
A.B.: Can we go along through life appearing to make fun of everything? S. D.: That’s what I do!
A.B.: If a billionaire asked you not to paint for a year, how much money would he have to pay you? S.D.: Oh, not much! A few million. A. B.: A few million what? S. D.: Dollars, of course. Let’s be practical. Give me three million dollars a year and I won’t touch a brush.
A. B.: Doesn’t living in posh hotels kill your genuineness? S. D.: Quite the contrary! In a sumptuous hotel, all of the outer life vanishes: you only have to press on a button and the door opens, if you need anything it’s brought to you. Everything’s organized splendidly. You can call up for theatre tickets just like that. Everything runs smoothly, everything is resolved perfectly. Under such conditions, madness has the greatest chance to be manifest in its pure state.
The notion of the end of the world has never frightened me. If the world were to die, even this afternoon, I should endorse it gladly. But if one single person were to survive, there could be no possible doubt as to its being Dali. I shall be the last.
my ambition is to become Salvador Dali, and nothing else.
it’s quite difficult, because the closer I get to Salvador Dali the further away he gets.
The press speaks of Dali endlessly, and if it attacks me, I’m absolutely delighted, for I arouse universal jealousy. The thermometer of success is merely the jealousy of the malcontents.
I’m an extraordinary person, whom no one will ever succeed in classi-fying. This feeds and hardens the total gruyère cheese of my personality.
A.B.: What do you care about the rite? S.D.: It’s the sacredness that’s important. I want the world to know how sacred love is.
Accumulated frustration leads to what Freud calls the process of sublimation. Anything that doesn’t take place erotically sublimates itself in the work of art.
I roll my r’s as in Spanish, and I exaggerate my French pronunciation. I also inject some Catalonian into my French way of pronouncing English. Very often, neither Americans nor Englishmen understand what I’m saying, but if they manage to grasp a small detail, the result is a deafening applause. The phenomenon is extraordinary: basically, they’re applauding themselves for having understood me. Instead of saying “butterfly” I say “booterrrrrflaaaaaaaeeeeee.”
It’s like switching from oil paint to acrylic. I’m not super excited about it, but when you have to you have to.
Yonekura is a Japanese barber shop at Hotel Okura Amsterdam. This is the place to come for a relaxing head and shoulder massage and a Japanese-style haircut. Ferdinand Bolstraat 333, +31 (0)20 6795462
Hello David Lynch,
I really really love your work!
I don’t have your email address so I thought maybe if post this on my blog maybe someway you will receive a Google Alert and you might be able to see my websites. That would be amazing.
All the best,
Complete most important task before 11:00 A.M. to avoid using lunch or reading e-mail as a postponement excuse.
Much to my surprise BYOB just keeps on growing. 52 BYOB’s have happened since July 2010, and 24 more are planned in the near future. Thank you to all of you who keep projecting!
Rafaël Rozendaal – New Information
19 November – 18 December
Opening SATURDAY November 19, 17.00-20.00
Nordin Gallery, Tulegatan 19, 11353, Stockholm
Nordin Gallery is happy to present Rafaël Rozendaal’s first solo exhibition in Stockholm.
The center piece of the exhibition “Popular Screen Sizes” is a series of mirrors in the sizes of screens. Screens are our window to a dream world, and they come in many sizes. In this site specific installation we see a range of mirrors carefully placed from big screen TV size all the way down to a phone screen.
Rafaël Rozendaal has always used the internet as his first stage, but increasingly mirrors have been playing an important role in his
gallery exhibitions. “My medium is moving light, and mirrors amplify this light. They are a metaphor for representation and they introduce a sense of cleanliness to exhibition spaces. Real space collects dust, but mirrors add a more shining light”.
The exhibition will feature mirrors, projections, and drawings. All of these gestures are connections between the viewer and the artist, not necessarily communicating but transmitting energy.