xy+:=/][()*

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fla source: typo1

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33 thoughts on “xy+:=/][()*

  1. crissxross says:

    xy+:= ***** ūüôā

    !
    word = error
    ūüôĀ
    typo1 = true[type]
    xy+… won’t dance on my mac
    (not in chiller unless i fork out some £££$$$)

    cx

  2. crissxross says:

    xy+:= ***** ūüôā

    !
    word = error
    ūüôĀ
    typo1 = true[type]
    xy+… won’t dance on my mac
    (not in chiller unless i fork out some √ā¬£√ā¬£√ā¬£$$$)

    cx

  3. runran says:

    there are better ways
    to spend your money

    >;r

  4. runran says:

    there are better ways
    to spend your money

    >;r

  5. babel says:

    I’ve been reading a great book by his daughter Hannah… ‘Fluxus Experience’.

    “Rather than merely multiplying existing media categories, like multimedia (as in opera, whcih discretely combines theatre with music and dance) or mixed media (as in illustrated stories, presenting complementary images and words), intermedia actively probes the spaces between the different media.”

  6. babel says:

    I’ve been reading a great book by his daughter Hannah… ‘Fluxus Experience’.

    “Rather than merely multiplying existing media categories, like multimedia (as in opera, whcih discretely combines theatre with music and dance) or mixed media (as in illustrated stories, presenting complementary images and words), intermedia actively probes the spaces between the different media.”

  7. runran says:

    heya babel

    Richard Kostelanetz wrote an interesting essay on artist’s books in which he says that “In order to understand and appreciate a book of the old art, it is necessary to read it thoroughly … In the new art you often do NOT need to read the whole book.” In your work using the random, it is often impossible to ‘read’ the whole piece. I find this element especially appealing because a person can return and experience an entirely different ‘reading’ with each visit. The above piece, xy+:=/\][()*, is a remix using code from 2 of your original works. It uses letters and punctuation from that code to create a typographical mismash that has no single author. In that regard, it probes the in-between space (or, to borrow from Flashspeak, the tween space ūüėČ

    >:r

  8. runran says:

    heya babel

    Richard Kostelanetz wrote an interesting essay on artist’s books in which he says that “In order to understand and appreciate a book of the old art, it is necessary to read it thoroughly … In the new art you often do NOT need to read the whole book.” In your work using the random, it is often impossible to ‘read’ the whole piece. I find this element especially appealing because a person can return and experience an entirely different ‘reading’ with each visit. The above piece, xy+:=/][()*, is a remix using code from 2 of your original works. It uses letters and punctuation from that code to create a typographical mismash that has no single author. In that regard, it probes the in-between space (or, to borrow from Flashspeak, the tween space ūüėČ

    >:r

  9. babel says:

    Yes, the digital in-between is an interesting place! Even (thoroughly) reading a linear piece would need access to the source code, the software to open it, and the programming skill to decipher it… an interesting mix of social, economic, educational factors. Add in the collaborative and random factors – the morphing code sources and generative code results – and it really is a difficult thing to read completely. Yet it can be read (hopefully) satisfactorily and successfully by someone with none of these thorough requirements…

  10. babel says:

    Yes, the digital in-between is an interesting place! Even (thoroughly) reading a linear piece would need access to the source code, the software to open it, and the programming skill to decipher it… an interesting mix of social, economic, educational factors. Add in the collaborative and random factors – the morphing code sources and generative code results – and it really is a difficult thing to read completely. Yet it can be read (hopefully) satisfactorily and successfully by someone with none of these thorough requirements…

  11. crissxross says:

    …> reading‚Ķ> unpacking‚Ķ> deconstructing‚Ķ> reconstructing‚Ķ> remixing‚Ķ> repackaging‚Ķ> re-reading‚Ķ> unreading?‚Ķ> unpacking‚Ķ> deconstructing‚Ķ> reconstructing‚Ķ> remixing‚Ķ> ‚Ķ> ‚Ķ

    …> = an in-between space, a gap, a leap, an opportunity to jump off in any direction …>

    // all diagrams, all theories are inadequate‚Ķ> there are so many…> i n – b e t w e e n s p a c e s . . . >

    all reading is incomplete, all writing is incomplete…> creativity comes from a state or sense of incompletion

    completion = the end = the final full stop

    c x

  12. crissxross says:

    …> reading√Ę‚ā¨¬¶> unpacking√Ę‚ā¨¬¶> deconstructing√Ę‚ā¨¬¶> reconstructing√Ę‚ā¨¬¶> remixing√Ę‚ā¨¬¶> repackaging√Ę‚ā¨¬¶> re-reading√Ę‚ā¨¬¶> unreading?√Ę‚ā¨¬¶> unpacking√Ę‚ā¨¬¶> deconstructing√Ę‚ā¨¬¶> reconstructing√Ę‚ā¨¬¶> remixing√Ę‚ā¨¬¶> √Ę‚ā¨¬¶> √Ę‚ā¨¬¶

    √Ę‚ā¨¬¶> = an in-between space, a gap, a leap, an opportunity to jump off in any direction √Ę‚ā¨¬¶>

    // all diagrams, all theories are inadequate√Ę‚ā¨¬¶> there are so many…> i n – b e t w e e n s p a c e s . . . >

    all reading is incomplete, all writing is incomplete…> creativity comes from a state or sense of incompletion

    completion = the end = the final full stop

    c x

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  15. runran says:

    see postcard sent to mo’po

    word = thing

    x related to y

    >:r

  16. runran says:

    see postcard sent to mo’po

    word = thing

    x related to y

    >:r

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  21. runran says:

    Just came across Johann Drucker’s wonderful project Artists’ Books Online: ABsOnline.

  22. runran says:

    Just came across Johann Drucker’s wonderful project Artists’ Books Online: ABsOnline.

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