47 research outputs found
Joseph Nechvatal: Immersion Into Noise
No full textLesung mit Joseph Nechvatal und anschließendem Rundgang durch die Ausstellung »Sound Art. Klang als Medium der Kunst«
im ZKM_Vortragssaal, 16 Uhr, Eintritt frei
Die Veranstaltung findet auf Englisch statt
Minóy
No full textMinóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s. Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992). Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner)
Minóy
No full textMinóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s. Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992). Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner)
Joseph Nechvatal
No full textThree authors comment on Nechvatal's computer virus paintings. The artist presents technology as the medium with which to shape the "meaning of meaning," as articulated in Kosuth's conceptual agenda, and draws a parallel between the computer virus and AIDS. Biographical notes. 8 bibl. ref
Immersion Into Noise
No full textThe noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information.
By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux.
Immersion Into Noise is intended as a conceptual handbook useful for the development of a personal-political-visionary art of noise. On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? Joseph Nechvatal explores this intriguing question in Immersion Into Noise
Immersion Into Noise
No full textThe noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information.
By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux.
Immersion Into Noise is intended as a conceptual handbook useful for the development of a personal-political-visionary art of noise. On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? Joseph Nechvatal explores this intriguing question in Immersion Into Noise
Styling Sagaciousness
No full textDuring the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!
The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.
This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos
Styling Sagaciousness
No full textDuring the Paris pandemic confinement period of 2020, with the dread of viral death in the air, artist Joseph Nechvatal finished his second book of poetry, titled Styling Sagaciousness: Oh Great No!
The mythopoeic mélange of Styling Sagaciousness is intended as a complicated forensic fairy-tale, suitable for Nô theater, which keeps slipping in and out of idiosyncratic narration, a ghostly appearance-disappearance act that turns on the nub of our narcissism concerning our death – that strange, incurable, and deeply irrational affliction we all share. Putting identity aside, Nechvatal's poetry tests the limits of form and stretches the bounds of meaning by recasting our experiences of encountering our self as the sumptuous physicality of total negation. As such, Styling Sagaciousness delivers an airy irrational punch of needed nonsensical negation by tying together insouciant informality with a visceral camp irony: at turns hip and flamboyant and morally outrageous.
This seven-part death farce epic poem follows up Nechvatal's sex farce epic poem Destroyer of Naivetés. Nechvatal intends these two books (with complementary cover images of his painting penelOpe in agOny) to be the sum total of his mature poetic output; addressing first Eros, and then, with Styling Sagaciousness, Thanatos
The Minóy Machine
No full textThe author provides a first-hand account, as a founding editor of Tellus Audio Cassette Magazine and contributing writer with Punctum Press, of his discovery of the early noise music of Minóy (pseudonym of the sound artist Stanley Keith Bowsza), and its significance within the history of Machine Art
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesBaigell, Matthew, “A Ramble Around Early Earth Works.”
Alford, C. Fred, “Art and Reparation or, Poetry After Auschwitz?”
Kultermann, Udo, “Pino Pascali and the Reconstruction of Nature.”
Platt, Susan Noyes, “Clement Greenberg,in the 1930’s: A New Perspective on His Criticism.”
Long, Timothy, “Art and Moral Resistance to Simulation.”
Nechvatal, Joseph, “Artistic Cynicism.
