internet scatology

dump_toilet20x10spacer_transpFunky_toilet by diamondie

It was once said that the literary idealist looked at the front of a house and the naturalist went around back and looked at the garbage. It wouldn't be unfair to say that the "art and technology" websites are our idealists, never daring to acknowledge that the internet is a sewer out of which the occasional blossom of "art" emerges. But who are our naturalists?

credits: Mad Magazine-style Dump.fm logo (my screenshot of a frankhats post under the Dump header); Funky Toilet by Diamondie on deviantart.com ("This is for the Pixel Pop Art competition, my first pixelation ever. If a toilet isn't an everyday item, then what is?")

Christopher Lasch semi-nostalgia

Philip Pilkington reminded me about Christopher Lasch, a critic of big government arguing from the left, who I remember not liking much back in the day. This summary is good, though:

Lasch was a complex figure. A cultural historian by trade, he wrote many fascinating books on topics as diverse as the idea of progress and the origins of cultural politics. His most outstanding work, however, was his critiques of the modern welfare state (most especially in The Culture of Narcissism and The Minimal Self)...

Lasch claimed that as government intervention in the economy grew the state soon found itself mediating more and more social relationships. For example, as the welfare state flourished in the post-war era social workers soon became a significant social force. Lasch claimed that they would swoop in and destroy family ties, replacing these with artificial and technocratic relationships essentially ruled over by the state.

And it was not just in poor families that Lasch saw the creeping hand of the state. Middle class families too were coming to rely more and more on state institutions. From family planners to psychotherapists in public schools (guidance councillors) Lasch thought that many of our social relationships were gradually becoming mediated through a technocratic apparatus at the centre of which stood the modern state.

Lasch then went on to argue that such a shift was hollowing out everyday social relationships. As we came to increasingly rely on these supports our personal and family relationships became ever more distanced, ever more managed. Into this vacuum, Lasch claimed, swept celebrity and consumer culture. The state hollowed out our relationships – the market filled the void with tatty consumer goods and celebrity gossip. It is this mix that Lasch referred to as the "Culture of Narcissism."

In the fights over the NEA and government arts funding some of us pondered the wisdom of taking money from the same "technocratic apparatus" that was at the time funding Central American wars and building H-bombs. In the post quoted above, Pilkington goes on to consider the opposite extreme, which is a libertarian world without centralized government (its most likely short-term contribution, he predicts, would be "a depression from which it would take decades to fully recover"). He concludes that we need the feds for their stabilizing effects on markets but puts forward the idea of a jobs program where funds emanate from Washington but are distributed at the municipal, community level. Sounds fine, as long as there are mechanisms to prevent local Tammany Halls from eating up all the money.

10,000 Pixels exhibit

Some artwork of mine is on on view this month in an Art Micro-Patronage exhibit titled "10,000 Pixels," curated by Jeff Thompson. Each participant was given a 10,000 pixel allotment to make three images, to be apportioned among the three as the artist chose.

I'll be doing an artist talk via Ustream on Jan 12 at 7 pm eastern in connection with the show where you can question/comment via the Twitter -- more on that as the date approaches.

The way AMP works is viewers can make small donations (or not) as they navigate through the site. If you click on the "i" symbol at the bottom of each page a popup appears with info about the objet d'art (arranged in tiled, YTMND style--you can also click in the page to see an enlarged view of the pixel art).

Other artists in the show are: Travess Smalley, Ben Vickers, Alexander Peverett, Laura Brothers, Matt Cella, and Angelo Plessas.

More about AMP from Kyle Chayka.

the best of 1991 (musically)

The best of 1991: 20 Records to Celebrate Instead of Nirvana's Nevermind (hat tip Blissblog)

Completely agree with this writer that in an epoch-making time the wrong record (and everything it represented) is celebrated.

It's not just a matter of Nevermind being unbelievably overrated as a rock record, or that its “revolutionary” effect of restoring rock to its gritty authentic essence was such a forced media construct, dreamed up by a poisonous cocktail of record industry and aging rock journalists who wanted something like Nirvana to happen; the ultimate amalgam of the most lame rock authenticity clichés - garage/punk “rock out”-energy and scruffy/maladjusted indie songwriting.

and

It's not that I think rave culture (or for that matter hip hop or metal) was more or less sociologically important than grunge, I don't really care and have nothing invested in whether it was so or not, it's that it came up with such unbelievable riches, such endless innovation and astonishingly new and fresh music, that if you're looking back at 1991 and see Nevermind, you're not just missing out, you're simply missing one of the greatest musical revolutions ever, and that in favour of a triviality that just repeats the past.

and

By 1991, Kraftwerk had finally proven beyond all doubt that they had won. The unfolding future was their spawn. And with The Mix, they sort of acknowledged this.* The album should really have been the closing of the doors to the past, but sadly, grunge simultaneously reopened them and insisted that it was better to live with rock regression than with electronic progression.

*although it must be said The Mix is not a great record