| { brad brace } on 14 Oct 2000 01:17:21 -0000 |
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| [Nettime-bold] Kanienkehaka |
Take:niehto:kate tsi wakhonwi:sere Akwe nonta:kehte iohwistakare:re Kwa
seh watieshon tsi wakhonwi:sere Ionhwe:son nakohsa:tens naiakohonwi:sere
Swista:ek swista:ek e:so swista:ek Ionhwe:sen nakohsa:tens
naiakohonwe:sere
The idea is to resist noise, speech, rumors by mobilizing photography's
silence; to resist movements, flows, and speed by using its immobility; to
resist the explosion of communication and information by brandishing its
secrecy; and to resist the moral imperative of meaning by deploying its
absence of signification.
Date: Fri, 25 Aug 2000 10:55:30 -0700
From: TASHA ANDERSON <[email protected]>
To: [email protected]
Subject: Re: 04278.jpg [1/1] (12hr)
what are these pics of?
Date: Wed, 30 Aug 2000 18:03:54 GMT
From: linda dare <[email protected]>
To: [email protected]
Subject: 12 hour project
Couldn't find anything that resembled your description of the 12 hour
project. Is this the interim before the end? Will it be available in the
future? Will archives of the past postings be available?
New to the word hypertext but very interested in connecting the concept
with graduate writing programs and letterpress.
Should I just give your last listserv posting to a student who knows more
about computers or is the site incomplete at this time, as it seems.
Thanks,
Linda Dare
Otis College of Art & Design
Date: Fri, 1 Sep 2000 23:33:16 -0700
From: Karl J Volk <[email protected]>
To: [email protected]
Subject: Re: UPDATE: the 12hr isbn-jpeg project
DEar Sir: I have no idea what on earth you are talking about Karl J.Volk
Date: Sat, 02 Sep 2000 20:42:35 -0500
From: LushiousX <[email protected]>
To: [email protected]
Subject: Hi Brad.
Wow, I didn�t realize that you were posting at the same nearly, or I
would have sent you a little chat:-) I�m digging the 12 hour series. I
nearly have enough of them for a good slide show, then I�m really going to
enjoy them more. I�m not sure if the hotmail address is working or not
try: [email protected] if you would like to write back, that one is
good. Thanks for the overview of your series. LX(johnart)
Date: Tue, 05 Sep 2000 13:17:48 -0700
From: alex galloway <[email protected]>
To: { brad brace } <[email protected]>
Subject: Re: your mail
here's a few 2 start.. take as much time as you want..
+ + +
Q: You're a pioneer of sorts. The 12hr-ISBN-JPEG Project began at the end
of 1994 and has run continuously since then. Can you describe the
project--what it does, where the images come from, etc.? How are ISBNs
involved?
Q: Do you have a particular interest in nonstandard net art formats such
as usenet, ftp, email, or are/where you simply using the technology
available to you at the time?
Q: What's your position on art vis-a-vis the museum? What are the perfect
conditions for artmaking?
Date: Sat, 16 Sep 2000 21:27:01 -0400 (EDT)
From: Lord Machiavelli <[email protected]>
To: { brad brace } <[email protected]>
Subject: 12 hr
I've been enjoying these odd posts for several months, off and on. What
are these? 12 hour exposures? What a concept! :) I've been looking for
one to use as a background for my sig or webpage, if I find one mostly
dark with whispery hints of smoke. Is this something you would give me
permission to use, if I found the right pic?
LM
<sig pending>
Date: Sat, 16 Sep 2000 22:35:43 -0600
From: david <[email protected]>
To: brad brace <[email protected]>
Subject: re:repost
Hello Brad Brace, I never saw the repost of 04318 on the 2 newsgruops I
am currently subscribed to. They are alt.binaries.pictures.12hr and
alt.binaries.pictures.fine-art.misc . Is there another one I should be
subscribing to? or should I contact my n etwork adm. Let me know and I
will be happy to do either. I have really fallen in love with your project
over the past year and have told any one who will listen to me about it.
It's a big part of my online experience. I literally look forward to it
ever yday . the first thing I do when I go online is save your jpeg in my
bbrace folder everyday. Very nice work! Is there anyway I can get
archived files from you? I haven't used them yet in any work that I am
currently involved in, but i do have some idea s and will give you FULL
credit for your wonderful project if and when things unfold as they
should. happily keeping up with you, David Koch
Date: Sun, 17 Sep 2000 14:00:58 -0400
From: Pietro De Santis <[email protected]>
To: [email protected]
Subject: 12 hr
Hello,
I was curious as to what all these photographs labelled "12hr" are all
about.
Regards,
Pietro.
Date: Mon, 02 Oct 2000 22:41:40 -0700
From: "Dominic F. Ciancibelli" <[email protected]>
To: { brad brace } <[email protected]>
Subject: Re: intimate complicity
Groooovy Tuesday. Far North. Right arm.
Hairy Krishnas. Can I use one of your pictures
to use as a birthday card to my ex wife???
So enough with the yap, let's get on with the
..............other stuff.
;-)
Domo
----------
> Date: Mon, 24 Apr 2000 20:27:27 +0200 (CEST)
> From: Siegl Andrea <[email protected]>
> To: [email protected]
> Subject: ..and a good surf before the carhunt
>
>
> hello brad
> gidday just, its about time i tell you that its a pleasure to surf
> your alignments on imagery and written ideas, its nice it seems your
> approach on things is similar to mine, your series on green is grande, you
> blur digitally (photoshopping) you scan from contactsheets or invert from
> negatives or slides, or is it all normal lens (whatever normal is) ? its
> high noon here (vienna) and now time to hunt the cars again, power to
> creative spirit,
>
> ciao ciao,
> ea*_--_:::
>
>
> http://oeh.tu-graz.ac.at/~cab
> -----------------------------
> i can imitate t r o m b o n e
Date: Tue, 03 Oct 2000 02:32:57
From: Ted Warnell <[email protected]>
Subject: Re: intimate complicity
{} wrote intimate complicity
> structure and composition of the artistic text and the way it
> operates in 'cueing' the audience's response to the artifact,
intimatecomplicit
[email protected]:{bradbrace}<b
yX-Authentication-Warning:eski
mo.com:bbraceownedprocessdoing
(PDT)Reply-To:[email protected]
[email protected]>To:heavyweapo
mSender:owner-triumph-of-conte
Date:Mon,2Oct200018:31:38-0700
nry:;Subject:intimatecomplicit
-bs
intimatecomplicit
intimatecomplicit
intimatecomplicit
intimatecomplicit
The photographic act consists of entering this space
of intimate complicity, not to master it,
but to play along with it
and to demonstrate
that nothing has been decided
yet.
"What cannot be said
must be kept silent."
But what cannot be said
can also be kept silent
through a display
of images.
intimatecomplicit
intimatecomplicit
intimatecomplicit
> The medium or process, of our time-electric technology is reshaping
> and restructuring patterns of social interdependence and every aspect
> of our personal life. It is forcing us to reconsider and reevaluate
> practically every thought, every action, and every institution
> formerly taken for granted. Everything is changing - you, your family,
> your neighborhood, your education, your job, your government, your
> relation to 'others.' And they're changing dramatically...
intimatecomplicit
intimatecomplicit
> Based on an analysis of the structure and composition of the artistic
> text and the way it operates in 'cueing' the audience's response to
> the artifact, neoformalism assumes an aesthetic dimension to artistic
> and literary texts. Neoformalism argues that form and content cannot
> be separated - that form is meaning. Because neoformalism does not
> seek to provide explanation for the author's motive or systemic
> dimensions of an artifact and its place in society, neoformalism is an
> exploratory approach - a place to begin the process of inquiry. The
> aim of the formalist method, or at least one of its aims, is not to
> explain the work, but to call attention to it, to restore that
> 'orientation towards form' which is characteristic of a work of art.
intimatecomplicit
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intimatecomplicit
http://warnell.com/real.intacc.htm
Date: Thu, 12 Oct 2000 11:40:45 +0200
From: Nadja Franz <[email protected]>
To: { brad brace } <[email protected]>
Subject: Re: [Nettime-bold] timebroker
Hi Brad,
I really tried hard to understand your project and use some downloadlinks,
but there were alotto probs and no server conecction possible.
If you are interested I would ask you to describe your project to me a bit
more simple.
Best greetings,
Nadja Franz.
--
fraufranz konzept & dezign
...
dipl des agd
Nadja Franz
...
Kanalstr. 42
24159 Kiel
Germany
Date: Fri, 13 Oct 2000 11:20:07 -0400
From: Peter Trepanier <[email protected]>
To: [email protected]
Subject: Proposals from Halifax
Dear Brad:
I have included one of your books in an exhibition cuurently on view in
the National Gallery's Library. I would like to send you some copies of
the brochure which was produced for the occasion. Andr� Jodoin was good
enough to give me your email address when he stopped in to see the
exhibition.
Best wishes,
Peter Trepanier
Head, Reader Services /Responsable, Services aux lecteurs
Library and Archives/Biblioth�que et Archives
National Gallery of Canada/Mus�e des beaux-arts du Canada
380 Sussex Drive/380, promenade Sussex
P.O. Box 427, Sta. A/C.P. 427, Succ. A
Ottawa ON K1N 9N4
This raw phenomenology of the photographic image is a bit like negative
theology. It is "apophatic," as we used to call the practice of proving
God's existence by focusing on what he wasn't rather than on what he was.
The same thing happens with our knowledge of the world and its objects.
The idea is to reveal such a knowledge in its emptiness, by default (en
creux) rather than in an open confrontation (in any case impossible). In
photography, it is the writing of light which serves as the medium for
this elision of meaning and this quasi-experimental revelation (in
theoretical works, it is language which functions as the thought's
symbolic filter).
> Subject: ISBN project
>
> dear Brad,
>
> I noticed your anouncements for the 12hr-ISBN-JPEG project a while ago. We
> actually have 3 of your ISBN books (the print version) here in the collection.
> I have now recently started to collect (and hopefully archive) digital
> work, "virtual" artists' books; mainly to keep them accessible for the time
> to come when they are no longer available on the net. I would be curious to
> know if you have undergone any effort to save your work on disk or CD-ROM.
> If so, I would love to house a copy here in our archive as an extension of
> your earlier work.
> At this point I have no budget for this type of artistic endeavours, but
> have at least been able to re-imburse the artists who sent me disks or
> CD-Rom for their postage and material expenses. I would make their work
> accessible to general patrons with the same security restrictions that
> apply to our other books and multiples. (Basically: handling/viewing by
> everybody, no [photo] copying)
>
> Any comments on my plan would be appreciated. Also, I would love to send
> you a brochure describing our holdings in more detail if you give me a
> regular postal address.
>
> Until soon and with all best wishes,
>
> Doro Boehme
> ____________________________________________________________________________
> _____________________
>
> AnneDorothee Boehme
> Curator/Librarian of the Joan Flasch Artists' Book Collection
> John M Flaxman Library, School of the Art Institute of Chicago
> 37 South Wabash
> Chicago / Il 60603-3103
>
> 312.899.5098 (phone)
> 312.899.1851 (fax)
> [email protected]
> http://www1.artic.edu/saic/art/flasch
>
>
> Received: from deetwo [207.55.144.51] by smtp.ev1.net
> (SMTPD32-5.04) id A0061BD50080; Thu, 10 Feb 2000 04:16:38 CDT
> Message-ID: <[email protected]>
> From: "DEnDEn" <[email protected]>
> To: <[email protected]>
> Subject: photo drivel
> Date: Thu, 10 Feb 2000 04:21:01 -0600
>
> post modern indeed. one thousand times zero is still zero. get a life.
What is at stake (at play, en jeu) is the place of reality, the question
of its degree. It is perhaps not a surprise that photography developed as
a technological medium in the industrial age, when reality started to
disappear. It is even perhaps the disappearance of reality that triggered
this technical form. Reality found a way to mutate into an image. This
puts into question our simplistic explanations about the birth of
technology and the advent of the modern world. It is perhaps not
technologies and media which have caused our now famous disappearance of
reality. On the contrary, it is probable that all our technologies (fatal
offsprings that they are) arise from the gradual extinction of reality.
>
>
> This would be the head of my 'fan' pages on the Twelve Hour Project.
>
> I'm in school when I pick up a lot of the twelve-hour photos, so they
> won't be here instantly. There might be several days together when I can't
> upload the latest couple, but in general sometime soon this will groove.
>
> The groove starts here.
> Tee hee.
>
>
> Mid-February I wrote this gushing review in my diary: And I'm getting
> pictures from the twelve hour project, which is some arty geezer's
> brainwave, or rather one of the arty geezer's brainwaves, because having
> visited his site I have worked out that he is grounded for inspiration
> particles and far too prolific to be genuinely talented. The twelve hour
> project is a delicious idea which is very much My Thing . . . he throws a
> medium-sized greyscale jpg onto the net every twelve hours. These pictures
> are of totally random things which hardly ever have human figures in,
> they're grainy and wonky and indecipherable and I love them. So I have a
> folder called twelve and I'm saving them with eight-figure binary number
> names, which will give me storage for 28, which is 256, after which I'll
> stick a couple more zeros on the front end of everything if I'm still
> collecting them.
>
>
>
> NB: I am nothing to do with the project itself. I just think it's a
> supermarvellous idea and the artist's website and design don't do it
> justice. It ought to be hayuuuuuge. http://members.dencity.com/twelve/
> From: [email protected]
> Received: (qmail 12499 invoked from network); 15 Mar 2000 20:01:14 -0000
> Received: from www-a27.backend.funmail.co.uk (HELO www-a27) (172.16.100.27)
> by mh-a01.backend.another.com with SMTP; 15 Mar 2000 20:01:14 -0000
> Message-ID: <[email protected]>
> Date: Wed, 15 Mar 2000 20:04:37 +0000 (GMT+00:00)
> To: [email protected]
> Subject: 12-hour fans
> You have a fan. I have no idea if you have more than one fan, but you
have me, anyway. > > And I did http://members.dencity.com/twelve > > And
you'll probably despise it, in which case don't bother telling me because
you'll only damage my ego for about five minutes and it was only ever
meant for me, but on the off chance that you like it I thought I'd let you
know I took up on the thing abou > t 'view them, re-post `em, save `em, >
trade `em, print `em, even publish them... ' > > I'm literal like that,
you see. > > Yours derivatively, > Tera > > >
--------------------------------------------------------------- >
The 12hr-ISBN-JPEG Project >>>> since 1994 <<<<
+ + + serial ftp://ftp.eskimo.com/u/b/bbrace
+ + + eccentric ftp://ftp.idiom.com/users/bbrace
+ + + continuous ftp://ftp.teleport.com/users/bbrace
+ + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace
+ + + imagery ftp://ftp.pacifier.com/pub/users/bbrace
News://alt.binaries.pictures.12hr ://a.b.p.fine-art.misc
Reverse Solidus: http://www.teleport.com/~bbrace/bbrace.html
Mirror: http://bbrace.laughingsquid.net
{ brad brace } <<<< [email protected] >>>> ~finger for pgp
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