Artistic trolling. Penumbra came in after I told her what I was doing and we augmented each other.

my clit’s pretty big..i dunno if i have penis envy.

I like the idea of penis frenzy.

I always like nudity, but only when it turns me on. I think these girls are just scared of dick.

Left by tanithcatteneo on May 10th, 2009

You guys! What a timely moment for my son to spend home with his mom while recovering from surgery for mosh pit injuries! From now on whenever we find ourselves in a crowd of inebriated pontificators (hey, it happens) we’re going to yell !!!CHATBOT!!!

Now off to MST3K this podcast into The Matrix …. JK

(Yes, sweetheart, there is art in Second Life® and mom will show you where)

I’ll have to listen again to the more coherent parts but my favorite was the common etymology of jazz and jizz (which could actually be a fun concept in identifying artists a la birds)

http://en.wiktionary.org/wiki/jizz

Left by Mab MacMoragh on May 11th, 2009

Dito Tanith, LOL. What is so scary about swinging from a big dick? It was like the reactions to the squirting breasts that Arahan put out. They just wanted to avert their eyes, click their heels and say there’s no place like home. I would be curious to know why the dick was so scary to them. Could it be some left over Puritanical genes still within the pool? Sex and sexual imagaes within western art have always had a taboo feeling about them. The greater question is why?

Left by Pen Carter on May 11th, 2009

That was an amazing ‘cast. the first part of it was that you got me and Mike Rees in the same place. Unexpected chemistry you guys didn’t know about – known him for years, and the energy always goes up with him in the room.

As for Tom and I getting into it – I realized we were talking about two separate things – He was talking about Mandelbrot’s research and its history, and I was talking about the history of fractals in general. Big misunderstanding, but we were also not entirely sober We were both right; Mandelbrot did pioneer his work in the early eras of computation in the 60’s, and iterative functions resulting in fractal theory originated in the late 1800’s/1900’s with people like Koch, Poincare, Julia, and others.

Tom, sorry about getting on your case.

And it was really good to understand Don’s obsession with Fuschia. Did not expect that one.

Left by patlichty on May 11th, 2009

Wow – that podcast was kind of a mess, wasn’t it?

Just a couple points to illustrate why commentary on the work at the sim – if it is to have any relevance to artmaking practice in SL – really must begin with more information about what is actually going on there.

For example, Zhora Maynard’s piece was rezzed long before Comet’s mountains appeared. So the long and pointless discussion about the placement of Zhora’s piece against the mountains was, well, long and pointless.

For example, the long and pointless discussion about the chat spam piece would have been a bit more informed, at least, if anyone had bothered to figure out who the artist was.(It’s Juria, BTW).

There are many other similar examples, but it boils down to this: much SL artmaking practice (and I would argue the best Sl artmaking practice) is driven by the triadic relationship of server/client/user. In order to understand, and thus intelligently discuss, most of the art found on the BIW sim, that relationship must form the context of the discussion. Otherwise, the “I like this”/”I don’t like that”/”it reminds me of ” talk amounts to little more than undergraduate art school twaddle.

Left by oberon.onmura on May 11th, 2009

Jay said: “I’m curious what anyone reading this thread thinks of the Comet Morigi giant mountains in the distance that you can never get to -

we only barely touched on those, but i think they’re not just pretty, but exceptionally beautiful — and being sort of extra fake (you can’t touch them) in a fake world they are touching to me. Am I being too easy on them?”

No. But you are also not getting why comet’s technically simple piece is the most radical and important piece of work currently installed at the sim.

Where to start … ? When I first noticed the mountains on what had previously been a blank horizon, my first act was to open the SL Map and get information about the new sims that obviously had just been created. (1-criticality of the SL map) Of course, there ARE no new sims so there was an immediate mystery. I tried to fly out to them but couldn’t. My thought then was that I was looking at some really amazing sort of trompe l’oeil representation of mountains. (2-the 3D/2D problem) I right-clicked on a mountain and was relieved to find that I could at least identify the maker, and so begin to understand what was going on. Knowing comet’s work with terrain and landscape, I began to piece together what I was looking at. (3-SL artmaking practice context) Multiple 1024×1024 megaprim sculpties had been shaped into mountain forms and textured accordingly. The fact that one can place a prim on a sim so that much of it can extend out to “the void” is what creates comet’s illusion. (4-sim border dynamics, 5-the politics of megaprims, 6-ongoing sculpty LOD issues) The fact that they’re also beautiful and completely alter the Popcha sim’s surroundings was the final thing I noticed.

So with one piece, comet manages to comment on and challenge multiple SL technical and political issues, with a bit of mystery and a lot of beauty mixed in. It is all there, ready for a meaty podcast discussion that could take off on any one of these issues.

Left by oberon.onmura on May 11th, 2009

Correction: the chatbot piece isn’t by Juria. Sorry for the misinformation.

Left by oberon.onmura on May 11th, 2009

Well at least I learned from this podcast that the words “jism” and “jazz” have similar origins.

Left by Arahan Claveau on May 12th, 2009

Actually, after everyone settled down and stopped shouting to get heard this turned out to be a rather stimulating podcast. Was it Patrick that started talking about fractals? Well, it was great to hear someone speaking so passionately, the podcasts can often be too much about technique, and that conversation seemed to shake up the other participants and injected some very welcome dialogue.

Regarding the chat channel piece by the unknown artist. Remember Ichibot did this sort of thing first and he did it best. I felt this was rather empty and lacked the wit and smart subtlety that Ichibot managed to accomplish, it also repeated the same dialogue over and over again and quickly became boring and annoying. I say all this and it might turn out that Ichi did indeed make it but somehow I doubt that, it is much more likely someone ripped off his idea, it wouldn’t be the first time that’s happened to him at BiW.

And dear podcast panel, don’t invite us to come here and spill out our opinions but then ignore us, there’s still comments on last weeks podcast post and many others before that lie neglected and unloved by you. The long threads and interesting conversations that you specified a desire to see here again only happen when you, the creators of this idea get involved and engage us.

Left by Arahan Claveau on May 12th, 2009

It sounds Oberon is really living inworld, with his comment for my mountains. He dealt with it quite inworld-geographically.

http://img01.slmame.com/usr/art/Mt-BiW090512_001-4.jpg

Here, it’s an air photo from 900m altitude to BiW’s sim.
That will represent what he and you thought surrounded my mountains.

I suppose, some Brooklyn commentors have little time to be inworld (maybe even no avatar). If only they have each avatar to meet/discuss at the area BiW.
In the current way they comment, it might be difficult for them to understand BiW works with the human-avatar scale, like Oberon did.

Cezanne said, “Monet is only eyes. ” .
“Watching” itself is not “living in”.
I hope they would not be cultural anthropologists for this new world.

I love an episode of Newman.
A foreign collector tried to buy some of his paintings.

Newman: How many months can you stay here in NY?
Collector: One month.
Newman: Can’t you stay for 3 months?
Collector: I can’t. It is only one month.
Newman: So, I cannot sell you any. Since, you cannot understand my works if it’s less than 3 months.

Left by comet on May 12th, 2009

So happy that pictures exist for comet’s mountains! I tried several times to see them and failed, crashing out upon turning up my graphics. I know they’re beautiful, especially from seeing Selavy Oh’s picture:

http://www.flickr.com/photos/selavyoh/3512763464/

For some reason I can successfully visit BiW only at the lowest settings and draw distance, which is frustrating. Perhaps someone should reset the SIM, or do some ghostbusting for lingering ghost scripts? Or perhaps someone should buy me a beefier computer and internet connection….

Left by Mab MacMoragh on May 12th, 2009

[...] Brooklyn is Watching Podcast #58 [...]

Left by Brooklyn is Watching » Blog Archive » Comet’s Mountains, Onmura’s Triad on May 13th, 2009

Jay, BiW is much loved by many of us, that’s why we’re still talking and leaving work at the sim over a year down the line. You do take notice when we complain, and it’s obvious that you care very much about this project that you created. I know that some artists gave up commenting here though because very often neither you or anyone else responds, it’s happened to me before too, it takes a long time to put thought and effort into a response, and so then to be met with silence, well it makes one less motivated to bother again.

Anyway, it’s encouraging to hear you’re still committed and enthusiastic.

Not sure what I think about the mountains, I’m struggling.

Left by Arahan Claveau on May 14th, 2009

greetings and late salutions!
i plead ignorance of most of the art movements/artists, moire effect, fractals, number theory, etc. that my dotty field was considered to be referencing. i know this is probably shooting myself in the foot and dropping down a rank in art crit cool but i just wanted to fess up. there’s a bit of a gap in my art history studies for op art. actually i have been doing dot pieces for some time (anyone remember the performance Seeing Spots, Being Dots)?

i was trying to create an effect in both 3D and 2D simultaneously that stretched the way we see things in sl. I like patrick’s mention of 4D too, although i didn’t consciously think about it that way. the notion of space and personal refence point and pseudo-realism breaking down are interesting to me and the piece grew out of it. interesting point about there being little regard to scale and a laziness of choice. i actually did care about the size quite a lot and filling large amounts of space for the av to fly through to create the patterns that patrick mentioned was a big part of the piece for me. the comment that it should reference something “real” and another that it should use material or symbols that carry inherent meaning seemed beside the point. it felt to me that it expressed those two critiquers’ personal preferences around art experiences rather than a true crit of the work. i do appreciate the comments though and they made me think about other perspectives. am i really devoid of emotion and real world context? interesting to ponder truly but i just felt that I was using the pure materials of color and sl.

comet’s piece was bloody brilliant. i plead a complete ignorance of having known it was someone’s art at all until this podcast. fabulous work comet and getting better everytime. hey, when are we going to get together in tokyo??

as for the passionate arguing, i played it for my family a bit after dinner (my wife and 2 kids of 5 and 10) and we all had a good giggle. “are they arguing about your art daddy?” my 5 year old daughter asked. i said, “yeah, maybe but i think they just want to be heard.” “AH!”, she said knowing the very feeling when she competes with her older brother for mom’s attention. actually i know that feeling too when competing with them. I’m not sure where the art critique started and ended.

i really learned a lot in this podcast and finally googled op art and the artists and the moire affect you mentioned. cool stuff. oh and I am really looking forward to hearing oberon on the show next week! will you pop over to the gallery or do it virtually from manhattan? i suppose there is some philosophical choice in there somewhere.

ta,
jy

Left by Juria on May 14th, 2009

“will you pop over to the gallery or do it virtually from manhattan?”

Funny, but I’ve been thinking about this question. I’m very shy, and I consider the Oberon avatar – my dark inner self – the perfect front man. But I’ll probably show up in Brooklyn. I’ve been feeling a bit guilty about being so close and never visiting.

Ohm Juria, BTW. Look up Briggite Riley and view some images. I can’t imagine how she could paint like that. Staring at one of those canvases for a long time has to give you vertigo. There are a couple of her works at MOMA in NYC and they are truly startling in person.

Left by oberon.onmura on May 14th, 2009

i had a look at some Briggite Riley’s images online but i doubt they have the presence you described in person. well, don’t let the “perfect front man” stand in the way of an experience. it seems like an a big plus for the BIW community that an active artist like you lives close by and can have some influence on the rl aspects. look at the fun patrick brought to the last podcast. i think it could change the intensity possibly. of course, maintaining the sl layer may make sense philosophically but i would enjoy hearing your ideas in person, as i think others would too. no pressure though, just an idea.

Left by Juria on May 14th, 2009

Looking forward to hearing Oberon’s input on the podcast to, he’s a sharp and interesting fellow.

Left by Arahan Claveau on May 14th, 2009

It’s end of semester – let’s post…

Well, Thanks to Juria for his comments. I’m actually really glad for admitting his “holes”, I always do, as they give me a chance for growth. It isn’t so much “art crit cool”, but honoring your traditions and being interested in those around you and those who came before. Consider if someone who was doing large prim work came into SL being the first without knowing anything about Juria or DC? Worse yet, the audience accepting it! In addition, I’m always embarrassed when I don;t know a painter, and I’m not technically one by genre.

For me, it’s passion, respect, and knowing who your folks are.

But yeah, I had an amazing time. It was very strange, being across worlds at that moment when Michael Rees came in, who I’ve been a friend of for years. In addition, Don asking me if I knew Lee (whom I had for about 10 years). It was the linking of my contemporary and virtual practices, which was really surprising.

By the way, if you want to consider who the “must knows” of the 21st Century might be, check out the “Younger than Jesus” show at the New Museum. A lot of good people there, and the directory of new artists they have on sale is a very good listing, and it includes China Tracy…

Left by patlichty on May 18th, 2009