dada photomontage et net art

__________________________always interest stumbleLover over newish ideas of combinatory and maximize one's learning artistically for to see other combinations in fugitive futuresssssssssssssss

Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Some of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more than Cubist collage, Dada photomontage (Höch, Hausmann, Schwitters, Grosz/Heartfield) presents very suggestive images composed of signifying fragments ranging from small schematic arrangements to wildernesses of profusion. One sees several patterns (matrix, swirl, cascade) with their associated semantics. We then apply these categories and principles to website imagemaps to see what the imagemap is saying visually about the site and our experience of it. of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more than Cubist collage, Dada photomontage (Höch, Hausmann, Schwitters, Grosz/Heartfield) presents very suggestive images composed of signifying fragments ranging from small schematic arrangements to wildernesses of profusion. One sees several patterns (matrix, swirl, cascade) with their associated semantics. We then apply these categories and principles to website imagemaps to see what the imagemap is saying visually about the site and our experience of it

Vivia DeVenIr Nomada

_______________________________________

BY way of .

Dada Photomontage and net.art Sitemaps

Maps of websites represent them as networks of linked files and provide perspective on the sites and their parts. Some of these maps and perspectives are utterly standardized (those for information retrieval, for example), but some are as much for interpretation as navigation. This piece sketches a semiotics of website imagemaps. Even more thaFirst posted by n Cubist collage, DaFirrst Posteds very suggestive images

# poOrsted by alvaro @ 6:55 PM

and reposted it

___________________________________________________

quote from

a french

DadaSopHicaler

like

Ubu Roi

Alfred Jarry

he thought

the Exception the

rule

and he married difference

his hands conducted numerous thoughts

___________________________________ Gee_____________________________________________________________________________________________________________

Deleuze was born in the middle of the Dada Movement his thinkin is dada and emblematicof the burrow

thing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.

Devour old films, new films, music, books, paintings, photographs, poems, dreams, random

conversations, architecture, bridges, street signs, trees,clouds, brodies of water, light and shadows. Select only things to steal from that speak directly

to your soul. if yo u do this,

your

or

No

thing is original. Steal from anywhere that resonates with inspiration or fuels

your imagination. evour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges,

street signs, trees, clouds, brodies of water, light and shadows. Select only thingsto steal from that speak directly to your soul. if you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And

don’t bother concealing your thievery-celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from-it’s where you take them to.”

->Jim Jarmusch

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her concealing your thievery-celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you

« TENDENCIES: Poetics & Practice

Intellectual Property|The Crooks of Love Forge in the Smithy O f My Soul

___on iNTellECtuAL ProPerty_______________>'

rose shit

_________________

via

viaviaviavia

its where you

take them er concealing your thievery-celebrate it if you feel like it. In any case, always remember what

viaviaiviaviaviaviav

iaviaviaviaviaviaiviaviaviaviaviaviaviaviavia&viaiviaviaviaviaviaviaviaviaviaviaiviaviaviaviaviaviaviavia

her concealing your thievery-celebrate it if you feel like itany case always _____________________________________remember what

over turned shoes.... Hans Arp

Overturned Blue Shoe with Two Heels Under a Black Vault (Soulier bleu renversé à deux talons, sous une voûte noire), ca. 1925. Wood, painted, 31 1/4 x 41 1/8 inches; Depth Of Mount And Depth Of Relief Elements: 1 inch. Peggy Guggenheim Collection. 76.2553.53. Jean Arp © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.


Hans Arp was a Dada and a good and true friend of the poet Tristan Tzara|
| He stood on his head
DAILY

_________________________He married

etcetera ~ _______________________________

w e oui

detournement of texts

'Against which we will affirmhere that the Anti-Oedipus- such as it mobilises, under the name of ‘Body

The Fauvisits were denounced as Wild Beasts when they first came along. Dada, & its endless incarnation suggests we make art from necessity not the phantasm of prize winning or "recognition" Poetry is a Way path a batch of becomings of the veil of the world[s], geology texts unearthing matrix uncovering the sands of death. Think with your bones O Writers. O writers of Canada with yer dead beat desire to be spoken and heard, be silent in your withdrawal & yer computer pomes strung along the edge of the void.
O Poets of America and religion. End the race. Purge yer religious unconscious.
Move the face out of black holes |hip the joints,

log marrow & thunder. without Organs’, the politics of sensationto which Artaud had devoted his convulsive constructions - grows out of all the movements which, in the art of the 20th century, ever since Jarry and Matisse the Hyper-fauvist knew how to free vitalism from the romantic expressiveness of the subject (therefore Dada rather than surrealism and its parasitic followers, name of ‘Body without Organs’, the politics, a permanent fauvism, that of Matisse, as the rigorous alternative to cubism and to the Spiritual in abstract Art).'
of eric alliez, guy debord, and clifford duffy

two scens Mystery Train_Jim Jarmusch_ and The Limits of Control ....

"Even if he didn’t like Jim Jarmusch’s latest film, which I found immensely pleasurable and mesmerizing, I’m glad that Hollywood Reporter’s Michael Rechtshaffen at least picked up on the fact that Bill Murray, who turns up very late in the film, is “channeling” Dick Cheney when he does. This is by no means a gratuitous detail. Trust a minimalist to make absences as important as presences. None of the characters in this movie is named, all of them are assigned labels in the cast list, and the only label assigned to Murray is “American”. Furthermore, unless I missed something, the European (specifically Spanish) landscape that Jarmusch and his cinematographer Chris Doyle capture so beautifully and variously, in diverse corners of Madrid and Seville, is otherwise utterly devoid of Americans of any kind — a significant statement in itself — until a foul-mouthed Murray makes his belated experience in a bunker, as ill-tempered as the American trade press is already being about this entrancing movie. Prior to that, we’re told repeatedly, in Spanish, by a good many others in the film, that he who tries to be bigger than all the others should go to the cemetery to understand a little bit better what life is: a handful of dust."


quoted

from Jonathan Rosembaum.com

















You what are you doing here


ExCuse me

No reallly excuse me Ma'am

I musta got the wrong address

I goto get going...

re_view

most folks are block. but of time . and its trestle none. none so retrieved as wedding vows blue. or skirts twirling along girls' stepping shoes in rain. ... d yellow raincoats. and othe r loves which rhyme as peaches go with sweet heart lips. lipsticked against the third quarter of September.

_______________________

colure

the astronomical vases Milton mazes speaks of Milton Eve's her Adam 'cept when she's hymn home. O rHomer to her ruling crazes. It's like that BumptyTumpty.

when the theoretical possibilities become infinite real collage becomes boring,the

dada at the opera : The Rake's Progress

No eye his future can foretell

No law his past explain

Whom neither Passion may compel

Nor Reason can restrain.

Igor Stravinsky - The Rake's Progress - "No Word From Tom"

Act 1 - Recitative: No Word From Tom (Anne) - Aria - Quietly, Night (Anne) - Recitative: My Father Can I Desert Him (Anne) - Cabaletta - I Go, I Go To Him (Anne)

conducted by Bernard Haitink, from 1975

Sets and costumes designed by David Hockney.

Roger Brunyate writes:

For the text, Stravinsky turned to the expatriate English poet Wystan Hugh Auden, who in turn brought in his own collaborator Chester Kallman. It was an inspired choice. As distinct from the metrical experiments of his contemporaries Eliot and Pound, Auden had always had a taste for the closed forms of earlier verse, and he adopted the Augustan style of the eighteenth century as to the manner born. Although writing in the mid-twentieth century, Auden and Kallman (whose styles are virtually impossible to tell apart) made no concessions to the modern era; their verse has the precision of Pope, whose elegance and wit they polished with the clarity of stylistic hindsight.

Although the subject and text of The Rake's Progress inhabit the eighteenth century, Stravinsky's music spans both eras; it is like a collage of classical motifs fragmented and reassembled in the manner of our own time. Indeed Stravinsky ranged even more widely in his sources. His primary inspiration is probably Mozart, specifically the Mozart of Così fan Tutte, which he had recently seen in a collegiate performance in California. But his stylistic grab-bag is deep enough to contain Monteverdi in one direction and Donizetti and Verdi in another; the styles are deliberately not all of a piece.

Furthermore, Stravinsky and his librettists conceived the opera in the old manner, as a sequence of short musical numbers linked by harpsichord-accompanied recitative. This deliberate break from the continuous musical narrative of Puccini and Strauss had the effect of taking time out of the real world and returning it entirely to the province of the composer. And it is his games with time that make the opera at once so exciting and so disturbing."

best

__________________________________________________________________

most poetry readings were boring and yet they got better as the time of used to
reading them became so. as the poets became better. yet some dont and others do.

better was good that became best.

___________________________ the poets became better. yet some dont and others do. better was good that became best.if that was not good enough
there was studio
the _______________________________________

under-sturdy-study and the constant making
_________________________________________________________

This way the chains were broken and the thighs

The violins pouncing announcing their refutal

___________________________________________________

this then ... that ...

if the rain comes don't say ....

it's the cloud's fault

____________________

BuRlesque DanceRs and Others AppEal TO Non Dada PrinCe to Save Run down shit box part of city they like and so do I so it goes but seeing as I was on

the trail of other becomings ____________________________________I was unaware of this event becoming till a mere quarter of an hour ago

Shitty
run
down
area

_________?
better that
than
the capital bingbong
of
replace with Uglee
shitty

commercial crapadom

HiStoric BeauTEe to go

Montreal le grand ville

de Sin

Mayor does not want

real People

living in the city

In fac

t

the Mayor and city

dont want the city to exist

at ALL

You can read media reports of what happened here:

“Prince Chuck misses out on lapdance” by Jamie O’ Meara, Up to the Hour (Hour Magazine)

“Royal welcome” photo by Kate Hutchinson, Montreal Mirror

“Montréal : œufs, tomates et strip-tease pour le Prince Charles” par Yannick Vely, Paris Match

“If the mayor won’t listen, maybe the prince will” by Jason C. McLean, Forget The Box

“please, charlie boy, save montreal’s red-light district” by Andy Riga, Montreal Gazette

“Une foule bigarrée accueille le prince” par Judith Lachapelle, La Presse

We never got to deliver our message to the Prince Charles in person and still haven’t received a response to our letter or video. He’s in Ottawa until tomorrow. Hopefully he’ll hear our message before returning to England.

** If you want to help spread the word, please forward, re-post, Facebook, Digg, etc. this post and/or this video to all your friends and lists, especially to people in England.

****You can also contact Prince Charles through his Regeneration Trust:

ImagIne that U too Can Write to A pRinCe if Not In Person then at least

thru his Regeneration Trust!

SO Pleeeeeeeeeeeeeeeese

PRiNCe CharlEsssssssssssssssssss

save the red Light ______________

No More ReD Light

its all gonna be

Green Light

Boring

Capitalism

devolopment shit

Help U s O Prince! Mona and friends Need SuppORT

info@princes-regeneration.org

_______________________ dont forget to reclaim the Main

Reclaim the Main

A project to reclaim St-Laurent Boulevard, a historic site in Montreal, from corporate intrusions through culture jammming, petitions and raising awareness. For more, please click here or the picture.

Burlesque dancers ask Prince Charles to Save the Red Light District

Burlesque dancers ask Prince Charles to Save the Red Light District

bustill mandelbrotia?

http://bustill.blogspot.com/

generalalitee

when the theoretical possibilities become infinite real collage becomes boring,the materials less interesting

which does not mean there are not interesting collage makers. but it does. there are . there are not. but theoretically there aren't

what is a collage anyhow ___________

Im not sure if it means anything

what it means its not important, what's important is what one does with it

what does one Do with a thought

the dada is a doer
a maker of artthings

_________________________________

collage becomes brick work. bricoleur? leur bric a brac.
__________


I am just having all collagists arrested ~

thought for the day! and evening

dada rests her case

&

takes off your clothe

remove his head

_______________

Selected for

Martin Beck, About the Relative Size of Things in the Universe, 2007
Image tirée de la vidéo, avec l'aimable concours de l'artiste / Video still, courtesy of the artist.




Sur la scène artistique, les œuvres et les projets de Martin Beck possèdent une dimension critique particulière. Ils envisagent l’exposition comme un médium par lequel le design, l’architecture et la culture populaire peuvent interagir de façon productive. Sa perspective méthodologique porte sur la façon dont, du point de vue d’un artiste, la pratique contemporaine et les discours historiques peuvent être interconnectés dans un sens qui va au-delà des reconstitutions ou des aspects de surface. Il s’intéresse spécifiquement à l’histoire des expositions et des structures de communication et comment ceux-ci influent sur l’articulation du temps présent.

Sa conférence portera sur les questions méthodologiques de sa pratique et particulièrement sur deux projets récents :

Panel 2 – “Nothing better than a touch of ecology and catastrophe to unite the social classes…” [Table ronde 2 – « Rien de mieux qu’une touche d’écologie et de catastrophe pour unir les classes sociales... »] a pour amorce un conflit lors de la tenue, en 1970, de l’International Design Conference à Aspen, au Colorado.

About the Relative Size of Things in the Universe [À propos de la taille relative des choses dans l’univers] lie le développement des systèmes d’exposition aux transformations dans les relations de travail.



Martin Beck’s artworks and projects have carved out a specific and critical position in the art arena that understands the exhibition as a medium within which fields such as design, architecture and popular culture can productively be interrelated. His methodical focus is on how, from the perspective of an artist, one can interconnect contemporary practice with historical discourses in a way that goes beyond reconstructions or surface looks. His specific topical interest lies in the history of exhibitions and communication formats, and how these impact the means of articulation in the present tense.

The lecture will address methodical issues of his practice and focus on two recent projects:

Panel 2 – “Nothing better than a touch of ecology and catastrophe to unite the social classes…” takes as its starting point a conflict at the 1970 installment of the International Design Conference in Aspen, Colorado;

About the Relative Size of Things in the Universe relates the development of exhibition systems to transformations in work relations.

I was a teen tea addict

yeats

W.B. Yeats (1865–1939). The Wind Among the Reeds. 1899.

The Song of Wandering Aengus

I WENT out to the hazel wood,

Because a fire was in my head,

And cut and peeled a hazel wand,

And hooked a berry to a thread;

And when white moths were on the wing,

And moth-like stars were flickering out,

I dropped the berry in a stream

And caught a little silver trout.

When I had laid it on the floor

I went to blow the fire a-flame,

But something rustled on the floor,

And someone called me by my name:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.

Though I am old with wandering

Through hollow lands and hilly lands,

I will find out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done,

The silver apples of the moon,

The golden apples of the sun.

phonemically

_______________________________

honetically rokenhoneticallyhoneticallphoneticlrokeonetically honetically broken:::phonetic

phonetically brokenphoneticanetically broken::

lyhonetically phon

allyonetically onetically brokenphonetically phonetically broken:: phoneticallyroken:: phoneticay broken::

phonetically brokenphonetically phonetically broken:

onetically phonetically broken::

allyheticly phnetically brokeoneticall honetically honeticaly honetically broken::

ally phonetically honetically bokenhonetically phneally

en:: phonetically boen:: honetically:: fhoneticly oken:: hoeticallyhonetaly phonetically broken::

ly tically phonephnetcally honeticabroknhon

phonetically phonetically brokenp

____________________________________

__________________________________

: and freedome is like a finger in the ass ~ O O th e aSS

in here~_: O ki.....

_________________________________

move in here . in here. your bulbous ~

__bC_aD__: O ki.....

... was a ...////////////////////////------------------------

__________________________

what does it mean to be naked?
______________________________locations of per

Ewa Partum in a film performance she

did. she wasis a Polish

artist this work ... done ... 1970s... Naked body of

woman encounters power disguised as uniform. the

body as fascist. versus the body. eva

dada duffy knew better living inside her head and 

  licking her thumb

as bravery defines courage

  by bread

    by late

  valour's the only we own? come along fool!

reading partum reading a


poem. Ewa her name is

suggestive. Eve and Part

part of, a partition, a partum. the latin? Who reads naked

now? THis is from the 1970's.

Change from a work by .

... face and body vulnerable .... desire awakened --- catches the heart . o . ---------------------- your

Eve Eva Ewa Who sees this Stupid Woman _ Ewa Partun __ 1984. delicate thing the body touch is the ring around which we sway sawn by night and desire's wake

.

.

O ki.....

caressed her buttocks..... O

O

we'd

caress

kiss

but caressing her buttocks

those buttocks

butt talks

talk

to

me

_______________________________________________________________________

Out of my blog and into her bed? Into the conversation of creation, and other ... O and O and