(o~) concrete G | aZe d Ove l (continued) by Meg Ida -The only difference between art and craft is academic. - The only real difference between art and craft is price; crafts cost less but do more. - Virtual reality will change everything. - Virtual reality will change nothing. You will still need to drink your coffee from a cup, until that’s replaced by intravenous infusions or caffeine skin patches. - With crafts, absolute form follows function and function follows forms absolutely. - (A quote from Clement Greenberg): “make art good enough and it won't be denied attention in the long run, and don’t let yourselves be closed off by... the notion of craft” (1984). - Ghettoizing crafts out of the arts context flattens out one’s depth of field,one’s perceptibilities; it’s a shallow divide. - The most fetishized vessel is the HOLY GRAIL- consider who touched it. - Haptic sensibilities of the form inform all the other senses. - Craft is limited by function. - Function forms an entry point for the viewer by being useful. - Being useful enhances its power as art. - Should art justify its existence? by Cristina King | If the neoavant-garde dares to look at its future incarnation it might be shocked to see it lies in craft. After the virtual world becomes blasé, then it follows that the tangible will be innovative. For the last fifty years the avant-garde has been looking at the boundaries of art. The avant-garde is radical and its ideas and products challenge the status-quo. Trends in society today suggest the norm is becoming, or has become, about human interaction with technology, or more specifically, computers. The question then is, what would be a radical challenge to this new status-quo? What will be the new avant guard? I believe that the materials and processes of craft based practices hold the answer. Contemporary and future technology will physically isolate people from each other. This is apparent in the design of the computer, it is only usable by one person at one time. Current personal computer design only allows for a single Jeremy Hatch untitled, 1998 person interface: a unidirectional screen and one keyboard. However, while people do communicate through computers, it is important to note that the interface, in reality, is not person to person, but rather person to computer. This breaks down physical and local communities while promoting virtual and global ones. Ceramics, for example, represents the other end of the spectrum. One way functional ceramics bring people together is for the ritualistic practice of food preparation and consumption. In an age when people relate digitally, anything that generates local communities will be radical. The tactile nature of ceramics is another aspect which makes ceramics a good candidate for the new avant guard. Besides touching the keyboard, computers don’t involve any other sort of physical contact. Computers don’t deal with real space they deal with “virtual space”. Even the images on the screen are simply produced by_ When one uses a hand crafted cup an intimate physical bond is created between the creator and the user. Unlike computers, the knowledge necessary to drink from a cup is basic. Ceramic vessels service our basic needs to eat and drink. The physicality of ceramics has a close connection to the physicality of our lives. I’m not trying to say that art produced on computers is not relevant or exciting, I just think it is not the best medium to communicate the avant guard. Craft is about physical contact and about physical communities. This is radically different than the interactions set up through computers. Electronic interactions do set up a form of community, but they are conducted through waves and wires. It is craft’s polar relation to technology that makes craft the best medium for the new avant guard. When the world is totally virtual the most revolutionary thing one will be able to conceive of is a well crafted handmade cup. speeding electrons: it is not text it: Is. “virtual — text2< @he language of computers is an invented and _ constructed language. It provides a stage for intangible and _ unreal things. Ceramics on the other hand, have everything to do with touch and reality. There is no way around it, to make a hand-crafted cup, you have to get your hands dirty. This process invests the cup with some notion of its crafter. Julie Proulx 1998 Clive Tucker untitled, 1998 art as internet continued from p. 13 Clive Tucker untitled, 1998 The banality of the piece is evident, and that is how it is intended to function: as a useless addition to the plethora of non-information which can be found on the web. The piece, then, becomes an interesting statement about art on the internet and the nature of the internet in general. You can find the simulator at conceptlab.com/simulator/ Also available on the internet from this site is the piece Pedestrian by Annette Weintraub. This is a good example of using the internet as installation, specifically the sort of installation where a person is required to interact with objects to get a different meaning out of each (I’m thinking of pieces with drawers, or other segregated containers). Weintraub combines text with images and an easily traversible web site which work to make everything she has created readily available; this is in contrast to The Simulator piece, where you are required to go through every step (or page) in the order which the artist designed it. Possibly the most well conceived and impressive internet art site is www.adaweb.com. Upon first arriving at the site, no hard evidence is given of anything - which therefore makes it an “art” site, or a broken site; but it is too well constructed to be broken. I followed a link to a survey about orifices and the mutigens I felt most susceptible to; after filling out the form I was spat out to the Disney home page. A bizarre twist which succeeded in disorienting me, its intention to obscure its own function is a strong point. It becomes difficult to find the “solution” to this page - who made it, what it is about - but this is not a weak point. The internet has been championed as a prime meeting place, the source for all December 1998 o. influx -26053 information; to challenge this and provide a site which does not provide any information whatsoever (and does not attempt to lie to you) but is still well constructed and very compelling is a major point of interest of this site. And since as a site, it should have some use, any use, (and is too well conceived to be considered useless) it can only be called “art”. Adaweb is also compelling because it changes every time you go there; it has a rotating set of web installations, picking a > seemingly random one each time you arrive. You know from the outset that the intention is art, the means is the internet, but the end is not a sale; it is an experience. It took several tries at re-entry to the site to reach the principal page where I could find information on the boundaries of the site and even on the “index” page, things were not easy to get around. This, however, is not a bad thing. Excellent web page design does not necessarily result in ease of use, and in this case the well constructed confusion is a welcome change from very regimented or just plain old bad sites. Adaweb sort of design, where you are required to have patience to gain some sense of what is going on, is a direct contrast to the high speed feeding frenzy of information which is the norm on the internet. : Another very unique aspect of using the internet as the medium is the capability of others to contribute to the work, to shape it, to make it something which they can call their own as much as the artist does. To this extent there is a project called HyGrid (http://www.sito.org/ synergy/hygrid/). The “HyGrid” is a geometric pattern made from parts of other pictures, and sounds which are attached to the pictures are available as well. The pictures can be rotated and rearranged to create a picture to your liking, and if you can’t make a picture to your liking, you can submit pictures to the designer. The designer becomes the filter for what gets put into the database and what doesn’t, although it is stated that everything submitted gets put in. At this site the artist is only partly the picture maker; he or she provides the forum for others to create the pictures, as fragments of his or her images are potentially dissolved into a larger database of pictures. As a project, Hygrid becomes an interesting reflection on how things become appropriated by people through the internet and how this appropriation can be accepted by (instead of resisted against) the system. The internet as art, then, allows for some unique possibilities not found before in other mediums of art. Using the internet as a medium allows for a level of participation beyond even just a computer specific piece, since participation does not rely only on who enters the gallery - anyone can contribute to the internet piece from their own home. Participation also comes from the defacing of the art, as it can be more easily copied and mutilated on the internet with less of a fear of getting caught. So, will internet art be the wave of the future for art? If art must only be a tangible object, then probably not; however its possibilities as a new form of installation, and as art outside of the gallery, are very powerful. It will be interesting to see how artists continue to approach the internet as an artform in the millennium to come. G | a zed Ove F (continued) by Meg Ida -The only difference between art and craft is academic. ~The only real difference between art and craft is price; crafts cost less but do more. Virtual reality will change everything. -Virtual reality will change nothing. You will stil need to drink your coffee from a cup, until that’s replaced by intravenous infusions or caffeine skin patches. - With crafts, absolute form follows function and function follows forms absolutely - (A quote from Clement Greenberg):“make art good enough and it won't be denied attention in the long run, and don't let yourselves be closed off by... the notion of craft” (1984), ~ Ghettoizing crafts out of the arts context flattens out one’s depth of field,one’s perceptibilities; it’s a shallow divide. - The most fetishized vessel is the HOLY GRAIL- consider who touched it. - Haptic sensibilities of the form inform all the other senses. Craft is limited by function. - Function forms an entry point for the viewer by being useful. - Being useful enhances its power as art. = Should art justify its existence? by Cristina King Jeremy Hatch untitled, 1998 concrete de neouvant garde dares 0 look a its future incarnation it might be shocked ose it ies fn era. After the virtual word Becomes blaé, then i follows chat the tangible wil be innovative For the last fity years the avant-garde has been looking atthe boundaries of art. The avant-garde Js radical and is ideas and products challenge the staturquo. Trends in society today suggest the ‘orm is becoming, or has become, about human Jmeration with technology, or more specifically, ‘computers The question thea i what would be a ‘adical challenge to this new status quo? What wil be dhe new avant guard? 1. believe that the materials and processes of craft based practices hold the answer. Contemporary and. future technology wil physically isolate people from each other. This is apparent in the design of the computer, itis only usable by one person at one time. Current personal computer design only allows fora single person interface: unidirectional screen and one eyboard, However, while people do communicate through computer its important to note that the Interface, in reali, is not person to person, But rather person to compute. This breaks down physical and lea! communities while promoting ‘gtual and global ones. Ceramics, for example, ‘represents the other end ofthe spectrum. One #2 functional ceramics bring people together is for the ritualistic practice of food preparation and ‘consumption. In an. age when people late igially, anything that generates local ‘communities wil be radical, “The tactile nature of ceramics f another aspect which makes ceramics a good candidate for the new avant guard. Besides touching. the keyboard, computers don't involve any other sort ‘of physical contact Computers don't dal with teal space they deal with “virtual space”. Bren the images on the sercen are simply produced by ‘When one uses a hand crafted cup an intimate physical bond is created between the ereator and the user. Unlike computers, the knowledge Inecenary to drink from a cup is besic. Ceramic ‘vowels tervice our basic needs to eat and drink. “The physicality of ceramics asa close connection to the pyscality of our lives. ‘Pm not tying to say that art produced on computers is not relevant or exiting, I just, think ef not the best medium to communicate the avant guard. Craft i about physical contact and about physical communities. This is radically ditfrent than the interactions set up though computers Electronic interactions do st up a fh form of community, but they are conducted {through waves and wires Iti raf’ pola elation to technology that makes craft the best medium forthe new avant guard When the word x ttlly virtual the mort revolutionary thing one will be thle to conceive of ea well crafted handmade cup ‘speeding clectront tis not text iis "viral text”. ‘The language of computers is an invented and’ constructed language. Ik provides a stage for intangible and unreal things. Ceramies on the other hand, have everyting 10 do with touch and reality. There i way around it to make a Ihand-erafted cup, you ave (0 get your hands dir. This Process invents the cup with ome notion of its crafter, Julie Proulx 1998 art as internet continued from p. 13 Clive Tucker untitled, 1998 Clive Tucker untitled, 1998 "The banality ofthe piece is evident, and that is how itis intended to fonction: as a ules addition to the plethora of non-informaton which can be found on the web, The piece, then, becomes an interesting statement about art on the {nternt and the nature ofthe internet in general. You can Sind the ‘simulator at conceplab.comy/simltoe ‘Also available onthe internet from this site isthe piece Pedestrian by Annette Weintraub, This sa good example of using the internet as installation, specifically the sort of installation where a person i required to interact with objects to get diferent meaning out ofeach (Pm thinking of pices with drawers, or ther Segregated containers) Weintraub combines text with images and tn easly traveruble web ste which work to make everything she thas erated readily avalable; this isin contrast to The Simulator piece, where you are required to go through every step (or page) in the order which the aris designed i Poi the most well conceived and impressive internet artsite is wrwadaweb com. Upon frst arriving atthe ste, no hard tvidence i given of anything - which therefore makes it an Sie, ora Broken st; but itis too well constructed to Be broken, I followed a link 0 a survey about orifices and the mutigens I fle ‘most susceptible tsar filing ot the form I was spat ovt tothe Disney home page. A bizare twist which sucoseded in disorienting ime it intention to obscure is wn faneton a strong point. Ie becomes dificult find the “solution” o this page - who made it What it is about - bur this is not a weak pont. The internet has been championed as prime mecting place, the source for all December 1998 ©, influx 26053 information; to challenge this and provide a ste which does not provide any information whatsoever (and does nt attempt to ie 0 ou) but is sill well constructed and very compelling isa major point of interest of this site. And since a sit, it should have some ‘se any ute, (andi 00 wel conceived to be considered Wels) i ‘ean onl be called “ar” ‘Adawe is also compelling because it changes every time you go there; it has a rotating set of web installations, picking a Seemingly random one cach tine you arsve. You know fom the ‘curse thatthe intention i art the means isthe interne, but the ‘end is not asale its an experience. I took several ies at re-entry to the ste to reach the principal page where I could find information on the boundaries of the site and even on the “index” age things wete not easy fo get around. This, however, 6 nota ‘ad thing. Excellent web page design doesnot necessarily result in ‘ease of usc, and inthis case the well constructed confusion is ‘weleome change from very regimented or just plain ol bad sites [Adaweb sort of design where you are required to have patience t0 ‘ain some sense of whats going on is adgect contrast the high feed feeding frenzy of information whichis the norm on the “Another very unique aspect of using the internet as the medium isthe capably of others to contribute 1 the work, {0 Shape it to make it something which they can call their own a8 ‘ch at the artit docs, To this extent there isa project called HyGrid Qap:/wwsitocrg/ synergyfygrd). The “HyGrid” is a scometrc pater made from parts of other pitures, and sounds which are attached to the pictures are avallable as well-The pictures an be rotated and rearanged to create a picture to your liking, and ‘fyou can't make a picture to your liking, you can submit pictures to the designer. The designer becomes the Blter for what gets put fino the database and what doesn, although iti stated that crerything submited ges putin. Athi ste the aris only partly the picture make; he or she provides the forum for others to create the pictures, as fragments of his or her images ae potently dissolved into a larger database of pictures. As a projet, Hygeid ‘becomes an interesting reflection on how things become appropriated by people through the internet and how this appropriation can be accepted by (instead of resisted against) the ‘sjsem. ‘The intemet as art then, allows for some unique possibilities not found before in other mediums of ar. Using the Intemet asa medium allows fora level of partpation beyond ‘ven just a computer specific piece, since participation docs not ‘ly only who enter the gallery ~ anyone can contribute to the internet pice from thee own home, Participation also comes from, the defacing of the ar, as it can be more easily copied and ‘mutated on the internet with les of fear of geting caught So, will internet art be the wave ofthe fire for at? If ‘art must only be a tangible object, then probably not however its Possiblies as anew form of installation, and as art ouside of the tales, ae very powerful It willbe interesting to see how atts ontinve to approach the internet a an artform in the milleaniam,