The Museum "Condensation:Black eBox" Proposal (3/18/98)


Subject: Re: [r2001 00523] Why Wait? We Are Blessed!

pygoya@pixi.com wrote:
>
> Dear R2001,
>
> Why Wait? (no word yet...............................................?)
> "God Bless Us All"?
>
> He DOES, We ARE Blessed! With the level of TALENT and TECHNICAL SKILLS
> and DIVERSITY of style and arts and TOTAL PLANETARY dispersion of
> members, poised at their stations for action.
>
> Instead of "waiting", I have a group fantasy "proposal" -
> This idea is founded on the following strategies...
> 1.Role play is a Director of Las Vegas Art Museum
> 2.Set in action the planning for my first interphysical-internet musuem
> conceptual project (in the name of historical change and interaction
> between the two realities), irregardless as to the verdict of LVAM to
> accept except my offer to intertwine them with the Web art world (r2001
> and beyond)
> 3.Give the whole "flock" of r2001 (the silent majority should never be
> left out at the radical leading edge of r2001's reentry into the
> physical art world) a grand opportunity to "show" in physical museums,
> irregardless of the level of work as judged by any other party
> 4.Incorporate the r2001 resources readily available for interaction with
> galleries or museusm, irregardless of LVAM's decision to keep their
> word as participants with r2001 projects on the Web
> 5.Initiate r2001's first world shaking art GROUP project, making it the
> dominating "center" and not a museum whereby we are their resoucres
> instead of the other way around
>
> Here goes, my proposed fictitious R2001 Proposal for it's OWN Web-Museum
> Interactive "Get Aquainted Museums vs. WebArt" Art Project-
>
>
> A PROPOSAL: "CONDENSATION:CYBERSPACE ART DEBRIS DISCOVERED
> NOW ON DISPLAY IN MUSEUM SPACE"
>
> a presentation by Rodney Chang,PhD, Internet Curator of
> Las Vegas Art Museum in collaboration with world Internet
> art ring R2001 (of which "Pygoya" is a member but
> a different indentity/entity from RC,PhD)
>
> 1. An actual art installation and performance by R2001- that opens the
> barrier (as in the movie Ghostbusters, some will think of us as coming
> from Hell and disturbing the balance of nature/power that museums now
> possess among themselves) that connects the two now separate exhibit
> spaces of physical and "virtual museum or gallery or any artist's
> homepage presence on the Web"
>
> 2."Condensation" as in something aloof (cyberbased art as threatening
> clouds over the 'real' art world) that suddenly condensate and pours as
> in a rainstorm - unto the arts scene.
>
> 3. Description of "Web piece" (for me, Web "work of art No. 2)-
> A construction of a "black box" (the enigma, the unknown, the web art
> world from the perspective of the museum and its audience) to house a
> real time living artist (Howdy, Bryan Smith, can yah leave the desert
> for vacation gig into art history?;) ), creating as usual in this black
> box "studio", suspended UP in the museum gallery space (pulleys,
> chains).
> Museum audience sits below (make shift fold out chairs) look above
> realizing that with the box art is being created at that moment FOR the
> Internet's audience, NOT them! They never see the "original"- it's "only
> virtual, on the monitor anyway... everybody knows that's not 'real art'!
> Subpoint here: digital art as fine art? deprivation of the museum
> audience by creating a physical barrier to the original to be displayed
> only on the Net.
>
> However, there's a slit in the wall of this box (a cybercapsule from
> cyberSPACE or Mars for that matter, Yola)-that spits out a print out of
> a completed piece from the printer on the inside. It floats down, the
> paying crowd below spots it, dashes in a mob to retrieve it as a "signed
> original collectible"- first series of "printouts" as real prints given
> birth (slit symbolic of female genitalia) in the physical museum realm,
> not its gift shop but its most precious womb - the exhibit gallery
> space. Pieces get ripped, destroyed, wrinkled as greed takes over for
> each surviving piece of paper that may be worth $?????? after becoming
> recycled as a framed and matted show in itself as part of the
> documentation of the "event".
>
> 3.Had a bit of complexity for the sake of democratization of art media
> and invitation to full participation of ALL R2001 artists, no matter how
> "good" each is and what media is used.
> - a second and even third such black suspended box/studio, these other
> 'satellites from cyberspace' (UFO's encountering the museum as "counters
> of the third kind") house working painter and sculptor.
> Then when a work done FOR the Web upload (upload in real time from
> within the box too), video-to-printer also drops "copy" of painting or
> sculpture (marble? ceramic?) to floor crowd below. Hopefully within the
> duration of the show works get completed (as in a figurature marble
> piece). If not no big deal, here's a statement of time it takes to
> complete works between digital artist and conventional media artists.
> Just video, print incompleted work as is to floor crowd. (Can have
> schedule drops of stage of completion as evidence of "work in progress")
>
>
> Support Resouces required for this historical Webart in a museum-
>
> >From the art world- a museum to accept this proposed project
>
> My first choice: New York's Alternative Museum or the Computer Museum
> (what a subplot coup for noncomputer artists to show IN a the Computer
> Museum without being discriminated against as non-digital artists!!!)
> With full documentation and a nice glossay (black and white is fine but
> full color is super!) by the museum.
>
> >From R2001:
>
> l. a sculptor or carpenter to build these boxes - must be portable, easy
> to reassemble, light weight, for world tour of museums.
> 2. volunteers of artist to work in these boxes within museums!
> 3. commitment from each artist in each country they reside in to BE the
> artist in the box when the box comes to their local museum. (they become
> instant physical world celebrities of their local art scene, NO MATTER
> how could their work is or how long their show resume is, true to the
> mission of r2001 and Seiji's, Aleski's and Gerald's dreams of the new
> art world)-
>
> SORRY, THIS EMAIL WRITE UP WAS STOPPED FOR THE PAST 20 MINUTES.... GOT A
> CALL FROM MICROSOFT!I do have a connection with a division manager in
> the corporation. I told him his call (giving me some gift software) was
> a nuisance because I'm writing this, more important at the moment and
> breaking my train of thought... So I naturally told him what I am
> proposing WE do in New York. Guess what? Read on, dear members (please
> scroll.....)
>
> He suggested Microsoft may be interested to sponsor US!!!! equipment,
> money, travel---- IF we give Microsoft the sponsorship, like their
> "banner" on the side of the box! I said this is a grand opportunity for
> the man (Gates) who wants to OWN the Internet to improve his tarnished
> present day public image - be THE PATRON for Web art (like giving each
> current member of r2001 some working capital to carry on for HIM)-
> through establishing the identity of Microsoft as the main supporter and
> participant of high culture of Cyberculture. How can they not lose?
> Physical world museums need sponsors and patrons, NOW MY VIRTUAL MUSEUM
> NEED A PATRON WITH MAJOR INTERESTS IN THE INTERNET. Here's what is
> proposed for them-
> 1.copy of this email sent to this division manager who will take it
> through the proper intracorp/network channels up to (hopefully) it's
> head, Bill Gates himself.
> 2.As cover of this email, Gerald 0'Connell or someother leader writes an
> introduction of this project seeking formal participation by Microsoft
> in behalf of not just us but the Emerging High Culture of the Internet.
> 3.We have some sort of written acceptance of consideration (actualized
> acceptance of course even better)for the project by a museum (for Bill's
> eyes and decision-making)
> Then we wait (again), this time to see if we can get Microsoft as r2001
> patron!
>
> Back to the project outlined above.
>
> Let's see, where was I....?...oh yes..
>
> 4.My piece, "Virtual Art Museum as Work of WebArt", also included in
> this show space..cpu/monitor with Website and browser on hard drive, no
> Net connection (to slow); maybe a slide show navigating automatically
> through some of the features of my site - can somebody in R2001
> volunteer and accomplish this for me?. Cpu/monitor on symbolic bridge
> between real exhibit space and virtual space- the sculptural pedestal
> (concealing the electrical outlet, cords, etc.). This piece included as
> it is the main instigator of this whole first movement into the museums
> by r2001. The piece moves along with the hung boxes of art studio from
> museum to museum. Of course my first choice would be for each such
> "installation from virtual installation" be BOUGHT and kept as a
> permanent fixture/piece in each museum (limited edition of such objects
> with signed monitors?)
>
> 5.A roving photographer of our group (Gary Beeber who lives in New York)
> or more than l- taking pictures documenting the interactivity of the
> crowd, the hidden artist/originalart (if it is an actual painting in
> process the original can NEVER be exhibited during this performance
> because it's for the Web not the museum space; they just see the
> printout come down: interesting-you the painter get a museum show for
> your painting but it really ever comes out of it's box!!!-very
> conceptual, -"I had a show at a New York Museum but nobody ever saw my
> work"?-Hey we are in new territory here!
>
> The photos become a show in itself as a spin off.
>
> 6.A nonvisual artist in the group (writer) writes a documentation
> catalog or better yet NOVEL entitled "R2001" or "Webartist Terrorizes
> Art World". Some chapters to consider: the vision of r2001 council; the
> growth of the group; the steady growth of the r2001 site, individual
> Lighthome content; the LVAM visit; the ANSWER to proposed Directorship
> of one of r2001's members (THE DECISION BY LVAM IN THIS CONTEXT IS
> IRRELEVANT- IT'S THE ATTITUDE THAT IS DISCLOSED EVEN BY A SMALL FORWARD
> LOOKING MUSEUM THAT IS IMPORTANT HERE IN HISTORICAL TERMS), the growth
> of this concept and opportunity for the group that lead to
> "Condensation" Installation and Performance in New York and then the
> rest of the world, the entry of Microsoft; we in the middle watch the
> battle of titans between Microsoft vs. Museum to claim US as their own!
>
> AH, sooooo cooooool.
>
> 7. I give my site over to another artist to manage. I get offline to run
> things for r2001, travelling about coordination museum shows, giving
> lectures at different member's museums or university or Internet cafes
> or flower watercolor painting clubs...I go back and lie on Waikiki beach
> and let whatever washes up from the beach into my head become that 3rd
> Web art piece that I seek - as YOUR member conceptualist Cyberartist.
> Even find time again to dabble again at my own digital artwork.
>
> That's it.
>
> Feedback please. As I said, I am just fantasizing how best to move us
> along (OK, granted at time warp speed) with the few opportunites
> starting to manifest itself to the group. If you, the group, thumbs down
> to the idea then for me as WebArt Historian that's important too as a
> learning experience and I SHALL document the group response as part of
> the history of Web base art in Cyberspace at my LightHome Hawaii.
>
> Aloha!
>
> Pygoya


From: "Aleksi Aaltonen" <aleksi.aaltonen@pp.inet.fi>

To: "pygoya" <pygoya@pixi.com>

Cc: "Gerald O'Connell" <goc@gacoc.demon.co.uk>,

"Seiji Ueoka" <fig37@cap.bekkoame.or.jp>

Subject: LVAM

Date: Fri, 20 Mar 1998 14:53:46 +0200

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Hello

Rodney, Seiji and Gerald...

Once more congratulations to Rodney!

But anyway here my thoughts inspired by your black box things...

>1. An actual art installation and performance by R2001- that opens the

>barrier (as in the movie Ghostbusters, some will think of us as coming

>from Hell and disturbing the balance of nature/power that museums now

>possess among themselves) that connects the two now separate exhibit

>spaces of physical and "virtual museum or gallery or any artist's

>homepage presence on the Web

Yes, it's like an extra dimension - the virtual reality. Or a separated area in a four-dimensional sperical universe. A connection is provided through a wormhole without which these two dimensions or areas could never be in touch with each others... R2001 being the wormhole, conventional museum structures the 4-dim. ordinary world and Virtual Reality the isolated part of the universe.

>2."Condensation" as in something aloof (cyberbased art as threatening

>clouds over the 'real' art world) that suddenly condensate and pours as

>in a rainstorm - unto the arts scene

>3. Description of "Web piece" (for me, Web "work of art No. 2)-

>A construction of a "black box" (the enigma, the unknown, the web art

>world from the perspective of the museum and its audience) to house a

>real time living artist (Howdy, Bryan Smith, can yah leave the desert

>for vacation gig into art history?;) ), creating as usual in this black

>box "studio", suspended UP in the museum gallery space (pulleys,

>chains).

>Museum audience sits below (make shift fold out chairs) look above

>realizing that with the box art is being created at that moment FOR the

>Internet's audience, NOT them! They never see the "original"- it's "only

>virtual, on the monitor anyway... everybody knows that's not 'real art'!

I had to read this several times before I understood something. It sounds very interesting. I still cannot see the picture maybe the same way as you do. Fascinating idea - 'they never see the original, it's only virtual' - where is that original - in an unseen dimension, in a dimensions not even the creating human soul represents...

 

>Subpoint here: digital art as fine art? deprivation of the museum

>audience by creating a physical barrier to the original to be displayed

>only on the Net.

>

>However, there's a slit in the wall of this box (a cybercapsule from

>cyberSPACE or Mars for that matter, Yola)-that spits out a print out of

>a completed piece from the printer on the inside. It floats down, the

>paying crowd below spots it, dashes in a mob to retrieve it as a "signed

>original collectible"- first series of "printouts" as real prints given

>birth (slit symbolic of female genitalia) in the physical museum realm,

>not its gift shop but its most precious womb - the exhibit gallery

>space. Pieces get ripped, destroyed, wrinkled as greed takes over for

>each surviving piece of paper that may be worth $?????? after becoming

>recycled as a framed and matted show in itself as part of the

>documentation of the "event".

>

Fascinating.

>3.Had a bit of complexity for the sake of democratization of art media

>and invitation to full participation of ALL R2001 artists, no matter how

>"good" each is and what media is used.

>- a second and even third such black suspended box/studio, these other

>'satellites from cyberspace' (UFO's encountering the museum as "counters

>of the third kind") house working painter and sculptor.

>Then when a work done FOR the Web upload (upload in real time from

>within the box too), video-to-printer also drops "copy" of painting or

>sculpture (marble? ceramic?) to floor crowd below. Hopefully within the

>duration of the show works get completed (as in a figurature marble

>piece). If not no big deal, here's a statement of time it takes to

>complete works between digital artist and conventional media artists.

>Just video, print incompleted work as is to floor crowd. (Can have

>schedule drops of stage of completion as evidence of "work in progress")

>

Good. You also mention the NY Alternative Museum as your first choice. What about the Vegas museum. And if something like this were to done, is it a part of the xhibition or the entire show?

>l. a sculptor or carpenter to build these boxes - must be portable, easy

>to reassemble, light weight, for world tour of museums.

>2. volunteers of artist to work in these boxes within museums!

>3. commitment from each artist in each country they reside in to BE the

>artist in the box when the box comes to their local museum. (they become

>instant physical world celebrities of their local art scene, NO MATTER

>how could their work is or how long their show resume is, true to the

>mission of r2001 and Seiji's, Aleski's and Gerald's dreams of the new

>art world)-

This list would be perfectly OK with me. I think all could be done, and personally I could be sitting on any box anytime!

BUT NOW, this plan if ever to be implemented, it must be written into a very clear format, including plans how to make all details happen + good thoroughly thought statements and descriptions - maybe a little story bringing this unknown world in front of our eyes. So I would like to see Rodney to write this once more as clear as possible for Seiji, Gerald and me, and then maybe the four of us could start working on all its details, maybe share the workload between us so that everyone completes a part of this etc.

Then Charles Dickens (Gerald O'Connell) could transform it into perfect English...

 

Aleksi