________________________________________________________________________________ From “Britannica”, Jul 21, 2000 http://www.britannica.com/brit/0,8532,150,00.html They're Not Just Mean "Who are you? What do you do?" Britannica.com asks 0100101110101101.ORG and gets a slap in the face answer. 0100101110101101.ORG This week Britannica.com provides an interview with the renegade cyber-entity known only as 0100101110101101.ORG, along with some background information. B: Who is 0100101110101101.ORG? 0100101110101101.ORG never answers this kind of question. Anonymity is not merely a "proper name" matter but deals also with backgrounds and biographies. 0100101110101101.ORG's activity is not concerned with artistic individuality. B: Who is your favourite Futurist? Benito Mussolini. The fascist revolution has been the most coherent development of avant-garde utopias. The overcoming of the barrier between art and life - the slogan of the historical avant-garde - and the dream of modelling reality according to aesthetic canons found their most implacable and rigorous author exactly in Mussolini. B: Does America need a national missile defence system to defend itself against nuclear attack? No. B: How are Web art and music related? It is happening more and more frequently that musicians produce their music starting from sampling -Negativland is one of the most concrete examples - and from rearrangement of sounds, taken from the infinite number of available sources. Anyone is therefore, at the same time, a producer of raw materials, transformer, author, interpreter, and listener, in a circuit of cooperative creation and fruition. 0100101110101101.ORG proposes the same practice in art; the "hybrids" are just some samplings of the materials we have at our disposal. Nowadays the problem of creativity is not creating something new but learning how to use what already exists. B: Is the subversion of viewer expectation an important part of your artistic technique, or are you just mean? 0100101110101101.ORG is interested in the subversion of the means. A good movie, like a good painting or a good novel, conveys the energy that its author has put into it; the subversion of the means becomes a metaphor for subversion tout court and wakes up the consciousness of the beholder. A movie by Jean-Luc Godard, for example, is successful because it imposes the beholder to take up a position. It is not so much a matter of renewing contents as of renewing the mechanisms of fruition. Only by deconstructing such mechanisms can we understand and, if necessary, modify them. We do not need other objects of art, but works of art able to make the beholder more conscious. B: What advice would you give readers interested in starting their own Web art collection? To look in their cache folder. B: Could you summarise your position concerning the concepts of "author" and "originality"? Theoretically every work of art can be reproduced, but with Net art the reproduction is absolutely identical to the original one. It follows that it becomes a "non-sense" to perpetrate such concepts that seemingly functioned in the real world. The notion of author in general, and therefore concepts like authenticity and plus-value, are strictly connected to the economic, institutional, and juridical aspects of traditional art. After the invention of printing, so with the automation of text reproduction, it became necessary to define the rights of the author as inventor and not only as artisan. The figure of author was born in a very particular economic and social organisation - it's only too natural that it fades into the background when the system of communications and social relations changes. The non- prominence of the author conditions neither the cultural production nor the artistic creativity. Net art requests new production, preservation, and fruition criteria that often conflict with the old rules of the art system, like the necessity of critics and museums. The creation of new forms of commercialisation of intellectual property appears to be evidently necessary. B: What are you currently working on? At the moment 0100101110101101.ORG is engaged to solve the contradictions of capitalism. B: Are there any links readers should check out? nSk, Johannes Baader, Negativland, R.D. Laing, Richard Stallmann, Alfred Jarry, I/O/D, Godard, Pan Sonic, Marcel Duchamp, Leni Riefenstahl, Luther Blissett, etoy, Alexander Brener, Mongrel, Werner Herzog, Nezvanova, Kraftwerk, Carpenter, RTMark, Bertolt Brecht, Sex Pistols, Rainer Werner Fassbinder and Ernest Hemingway. May 29, 1998 0100101110101101.ORG invents the life and works of an imaginary Serbian artist named Darko Maver. The project lasts two years and involves dozens of people from several cities, culminating with the disclosure of the prank the day after Maver is presented at the 48 Biennial of Contemporary Art in Venice. Dec. 15, 1998 The activists buy the domain name vaticano.org, which they use to create and maintain, for an entire year, an "official" organ of information for the Holy See, a huge site aesthetically identical to the real one but with slightly modified contents. May 11, 1999 Creation of the "hybrids": files obtained by mixing together stolen works from other Internet artists. May 11, 1999 A copy is made of Hell.com, the most popular Net art museum. The mirror site is published in an anti-copyright version without password protection. After only two hours 0100101110101101.ORG receives the first threat of legal proceedings for copyright violations from the creators of Hell.com. However, the mirror site remains. June 9, 1999 The activists download and modify Art.Teleportacia, the first art gallery to appear on the Web. The gallery's exhibition, "Miniatures of the Heroic Period," is renamed "Hybrids of the Heroic Period" and the works on display are radically altered. A long debate on the Web follows between Olia Lialina, creator of Art.Teleportacia, and the supporters of 0100101110101101.ORG's tactics. Sept. 12, 1999 A clone of the web site belonging to Net artists Jodi is published on the web site of 0100101110101101.ORG, this time without any modifications, to demonstrate that certain ideas and practices - such as the authenticity and uniqueness of an artwork - must be considered obstacles to the development of Web art. HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG HTTP://WWW.0100101110101101.ORG >>>> >>>> >>>> unsubscribe: **** mailto:PROPAGANDA@0100101110101101.ORG?subject=unsubscribe >>>> >>>> >>>> subscribe: **** mailto:PROPAGANDA@0100101110101101.ORG?subject=subscribe >>>> >>>> >>>> PROPAGANDA: **** HTTP://WWW.0100101110101101.ORG/PROPAGANDA >>>> >>>> ________________________________________________________________________________ no copyright 2000 rolux.org - no commercial use without permission. is a moderated mailing list for the advancement of minor criticism. post to the list: mailto:inbox@rolux.org. more information: mailto:minordomo@rolux.org, no subject line, message body: info rolux. further questions: mailto:rolux-owner@rolux.org. home: http://rolux.org/lists - archive: http://rolux.org/archive