Hybride Mag hyber man

 中国十大传统名花说

　　梅 花 [迎花傲雪]牡 丹 [国色天香]

　　国 兰 [花中君子]菊 花 [高风亮节]

　　玫 瑰 [爱情之花]杜 鹃 [烂漫山花]

　　荷 花 [出污泥而不染]山 茶 [恍似红霞]

　　桂 花 [秋压众芳]水 仙 [凌波仙子]

梅花为冠军，有花魁之称，总领群芳。牡丹为亚军，它是花中之王，国色天香。

菊花为季军，它高洁丰丽，傲霜怒放。兰花为第四，它是花中君子，天下第一香。

月季为第五，它是花中皇后，世界名花。杜鹃为第六，它是花中西施，风姿卓绝。

山茶为第七，它是花中珍品，富丽堂皇。荷花为第八，它是水中芙蓉，磊落大方。

桂花为第九，它秋风送爽，十里飘香。水仙为第十，它是凌波仙子，清新淡雅。

数字艺术家 Mark Napier 新作品 Riot
作品地址 http://www.potatoland.org/internal/intern1.html


简绍
Artiste(s)
Mark Napier
Né à Springfield, New Jersey, en 1961. Vit et travaille à New York.

Mark Napier相关链接
Œuvre(s)
On line
— Mark Napier
http://www.whitney.org/artport/
http://www.potatoland.org
http://www.afsnitp.dk/galleri/home.html#onoff
http://rhizome.org/object.rhiz?1213
http://rhizome.org/object.rhiz?2456

其他相关艺术家
— Autres artistes
autour de l’interface du web et des navigateurs
http://www.flavoredthunder.com/dev/browser-gestures/
http://www.boogaholler.com/webart/
http://www.netomat.net/
http://mrl.nyu.edu/~andruid/ecology/collageMachine

  去年吧，Jake and Dinos Chapman两兄弟获得当代艺术高碑`透纳大奖`。始于1990年哥俩合作残酷美丽的雕塑，1996个展在伦敦。

这两位年轻人极其有活力，千奇百怪都愿意做，表象方式直接的像英格兰队的足球打法。

合成人体，置换器官，来攻击视觉。其渊源是直接在西班牙大画家歌雅那些鬼魅一般的组画那里做着当代后续，残酷的现实寓言。

现时社会的变化总是让这两位艺术家在极端感受到再做出`异变社会的形`，反过来攻击社会，向大众叫嚣。其中严肃的提问变成视觉的`骇`。

2004年9月14日

TEXT Anna Chapman IMAGES David Axelbank


Since 1993, British duo Autechre have embodied experimental techno’s bolder agenda: to disrupt the listener and presage the shape of sounds to come. Their Siskel-and-Ebert-style critiques of technology, pop music and society reflect their love-hate relationship with the world around them-one in which they continue to forge significant breakthroughs in how we think of and hear electronic music.

ROUGH DRAFT
“Interviews can really fuck up your day,” announces Sean Booth. It’s 9AM and the plain-speaking Lancashire lad is relaxing in the secluded charms of a faux-workman’s cottage in the grounds of a British hotel. Outside, a river gurgles with freshly melted snow, while inside Booth shares a morning spliff with his partner Rob Brown. Booth is explaining why the reputedly temperamental Autechre are receiving a weeklong procession of journalists. He doesn’t like to be disturbed. “Normally you do press on and off for two months and it interferes with our work. I’m not answering the phone in the studio.”

Booth’s sensitivity to his environment has led him to forsake the urban landscapes of his youth in Rochdale, Manchester for a technological world constructed among the thatched roofs of Suffolk, England. Draft 7.30, Autechre’s seventh studio album, was recorded here. “It’s not like a bedroom studio where you might be influenced by outsiders,” observes Brown, who has his own studio set-up at his place in London. Booth says he’s happier here in the countryside because he’s not being force-fed information about other people’s daily cycles. He doesn’t have to hear them getting ready for work, and he doesn’t get bored so easily. He notes that previously, Autechre would knock out tunes in two weeks “to get them out of the way.” On Draft 7.30, they averaged three to four weeks per track.

A journalist reputedly told Autechre that Draft 7.30 “made her feel like she was wandering around a bleak housing estate.” Although Booth accuses her of being “middle class,” he admits that the album sounds more urban than its predecessors do. “Maybe we’re harking back to bleak estates?” he speculates. “When we were making music like [that on our second album] Amber, we were living on a bleak housing estate, which made it more mellow sounding,” concludes Brown.

Autechre didn’t plan Draft 7.30. Even the name is a working title that stuck because they couldn’t think of anything more appropriate when they sent the work to Warp. Originally, it was Draft 7.1, then 7.2, then different versions until it ended up at 7.30. Despite holding a godlike reputation among programmers who love music–Boards of Canada, Pilote, Plaid and Aphex Twin–Autechre’s main intention with this album was to curtail their use of new software. The duo agree that they overdosed on technology on their previous album, 2001’s Confield, so they refrained from downloading any new programs or plug-ins for Draft 7.30. As such, the album found them harking back to their earlier circumstances.


“When we started out in ‘87 we didn’t have money to spend on gear. We’d buy a bit of equipment and really get to know it. Now it’s so easy to download 500 new bits of software in an afternoon,” says Booth, who, in an issue of Jockey Slut, claimed that the increased availability to gear has forced electronica into the hands of “Ford Fiesta owners” who lack creativity. Brown: “We’ve found interesting things in stuff we already have. Autechre has always been about squeezing the most out of what you’ve got, taking back-routes to do things, plugging a bit of equipment into something that wasn’t designed to receive its information. This time it’s about composition rather than programming.”

Consequently, they believe Draft 7.30 is a more “personal” album, although you’d have to be an aural genius to detect this among the abstract squeaks, groans and hisses. As clever as Autechre undoubtedly are, Draft 7.30 isn’t their most digestible album–it’s more an exercise in mastering technology. “There’s more of us in this one,” insists Booth. “We love Confield, but know it’s a little bit too ‘mathematical’ for some people who might think it’s not got the same qualities as other music. [It’s kind of like] when I first heard acid house–I thought, ‘This isn’t the way music’s supposed to be.’”

TAPE HEADS
The promos of Draft 7.30 were sent out on cassette tape. “[Cassettes] hold a significance for us because we grew up swapping tapes in a music sharing culture based on high-speed dubbing, not dial-up speed,” explains Brown in well-rehearsed promotional patter. “Our early promos are on tape. They were the last universal format before everything went digital. People sling cassettes about and you find them on the floor. It’s totally different to the world of vinyl.”

Is their tape-loving wholly nostalgic? Autechre are aware that while vinyl copies of Draft 7.30 would have gone straight to eBay, digital copies would have been turned into MP3s flitting around the internet. It’s a format that Booth hates because he thinks their music “sounds pretty snuff on MP3.” Insists Brown: “Tapes give a good sense of the music without loads being shaved off, or the dynamics being altered.”

Booth says that he doesn’t object to fans downloading Autechre for free–he just prefers the sound of less easily accessible 44K versions (or ones released officially through Warp). Rather than seeing the internet as a great leveler, he believes it is a “highly exclusive worldwide web. Most people don’t have a connection that allows them to download high-resolution files. Look at a physical map of internet portals. They’re all in America, Northern Europe and a bit of Japan. The internet is more culturally exclusive than Coca Cola.” Brown, as ever, pinpoints the flaws in his partner’s grand theory. “You can get broadband in India and the Middle East because loads of programmers live there.”

INDUSTRY BUM RUSHERS
Throughout their musical career, Autechre have continually name-checked hip-hop as an influence. What do they think of its increased presence in the charts? Booth: “Occasionally there’s a good tune, but even the Neptunes–who everybody [seems to like]–they’re ripping off El-P’s beats. It’s all pop music.” And how is pop music different from what Autechre does? “Some people think it’s a genre in itself and you can make a good pop record,” Booth notes. “I don’t think that’s the case at all. It’s surely about sales, marketing and image. But it ain’t difficult to make a catchy tune and get it trapped into people’s heads.”

More than ever, Autechre aren’t about to take the easy option for the sake of commercial success. Booth: “I don’t think people are drawn to that type of music naturally. It’s just easy to consume when you’re driving to work. You don’t have to think about what you’re listening to.” The masses aren’t being lazy, he continues–it’s more likely that the programming directors are becoming increasingly conservative. “The music industry is becoming just like Hollywood. All the money for record labels and studios is getting centralized because there are bigger organizations to maintain.” Under different circumstances, in a parallel universe where knowledge ruled, Autechre could be number one.

Back in the real world, the duo reflect on current events in hip-hop. When questioned about Jam Master Jay, rather than reeling off the usual answers about a hero gunned down, Autechre are predictably critical. Booth: “Everyone credits Run DMC for taking rap overground, but “Walk This Way” wasn’t the first rap record to make the charts. Rap didn’t have to blend itself with rock music to be accepted by the mainstream–it was accepted four years before with Kurtis Blow, [Sugar Hill Gang’s] ‘Rapper’s Delight’ and Melle Mel.” Booth claims Jay was his favorite member of Run DMC, but the recent news of the DJ’s death was “meaningless” to him. “I thought, ‘everyone’s going to celebrate him like he’s this major-league hip-hop icon.’” Meanwhile, Brown is “surprised” about Adidas selling a pair of shell toes out of “respect.” Unsurprisingly, Booth thinks Adidas are “fucking cunts.”

IT’S THEIR PARTY
Not everything is so dour in Autechre-land. Booth has positive things to say about the Spain-based multimedia festival Sonar–both the way its organizers integrate hyper-commercial with experimental music, and how the popular night schedule funds daytime events (although he can’t help commenting that there were “loads of Spanish people playing crap records”). Draft 7.30 will be released the day after the All Tomorrow’s Parties festival, the British version of which Booth and Brown are curating in 2003. They’ve pulled in a dream line-up that includes Public Enemy (Brown: “Like landing a whale”) and the Magic Band (“Our heroes asking us what they should play”), alongside their own Autechre alter-ego Gescom, and are enjoying the process very much indeed. They’re interested in how their slant will make this ATP different from ones curated by Sonic Youth, former Pavement member Stephen Malkmus and, er, Simpsons creator Matt Groening in LA. Although the fest was originally scheduled for Japan, Autechre opted for home-turf when Japanese organizers suggested Brian Eno. “We might as well have booked U2 to play,” quips Booth. Autechre liken the selection process to radio DJing. “Like when we did pirate stations,” claims Booth. “Or like putting a mixtape together for someone and being really anal about it.”

Similarly to curating, the making of Draft 7.30 required Autechre to look back at their roots, largely because they had advanced beyond the latest developments in technology. Booth: “By building our own sequencers, we’ve learnt so much about writing computer programs that we feel totally fluent. Technology has become transparent. We don’t have to worry about it presenting any obstacles, because we can take another route.” It’s a situation that inevitably makes them critical of the nerdy laptop culture with which they’re associated. “Laptops are such a lifestyle statement,” sighs Booth. “There’s nothing worse than walking into a bar and someone coming up with a Powerbook, opening it up and saying ‘look what I’ve been doing.’ For us, computers are great communicating and music-writing tools, but they need people to use them.”

Booth believes computers will be superceded by more advanced machines. “It’s pure speculation, but I’m pretty convinced they’re going to reach the ceiling soon in terms of throwing electrons down bits of wire.” It’s this ceiling that made them turn to analog technology on Draft 7.30 to create elements that new-school computers couldn’t. “I use computers and think, ‘This sounds a bit tight.’ Then I use an analogue synth and it’s universally tight,” explains Booth. “Analog technology deals with curving, constantly changing values, and it doesn’t reduce everything to a series of steps. By working with constant curves, you can do loads more full-on [mathematical processes]. I can see there’s lots of room for improvement in terms of computational technology.” While they wait for the scientists to catch up, Autechre must adapt old technology to draft sounds for the future.b
Autechre’s Draft 7.30 is out now on Warp Recordings.


The MP3s

http://www2.thewire.co.uk/MP3/Lentic_c.mp3
http://www.espew.com/cgi-bin/spew/471515/Autechre_-_6IE.CR.mp3
http://www.espew.com/cgi-bin/spew/206776/autechre1.mp3
http://www.espew.com/cgi-bin/spew/783831/Autechre%20-%20Bike.mp3

2004年9月14日

d’Art moderne
09 juin 2004 &nbsp03 oct. 2004Annette Messager, Sous vent

  Le voile recouvre le sol et les monticules d’objets fantomatiques, mystérieux, irréels qui le ponctuent… Une scène à voir, une scène à ressentir physiquement aussi — ne serait-ce qu’aux passages du souffle qui progresse jusqu’à nous.


d’Art moderne
Couvent des Cordeliers
15, rue de l’Ecole-de-Médecine
75006 Paris
T. 33 1 53 67 40 00
F. 33 1 47 23 35 98
M° Odéon
Mardi-Dimanche. 12h-20h

  找到个关于文革艺术的web，法国人做的，兴致好的也算罕见。文革宣传时期的绘画比较稀有，在中国也是。过去的事情就不该回避，一起拿出来大家看看，这位弟兄收集归类的东西还不少，善事。

画面上激昂的群体姿态亦气势，为理想的英武都还留在人身上。那时代也转为现在的`其他`，在以各种方式继续。过去的只是那10年时间，当年的那些小伙姑娘还在，文革绘画也在，历史黯然灿烂，也今天。

http://artchina.free.fr/

2004年9月14日

   说好听点是我小时候就爱看` 书` ，其实也就是`我们从小爱科学`和`飞碟探索`这类杂物。看久了每期讲的如幻似真的案例，可能自己还小，也可能中邪了吧。越看越觉得自己可能是那飞来飞去，不计燃料的`外星文明`带到地球的孩童，不然为什么我偏不喜在学校这种人类的`文明`中学习呢？后来人长大，懂点了，杂志和报社一样也要吃饭的。

那文明是真假呢？不知道，我现在就知道外星人看我们也是外星人。一如外国人瞄一眼就知道我是外国人。走在哪里街上都很好玩，有`外星`也有`老外`。

回国第二天，朋友在酒下半后，侧身来问我，外国人如何如何？我回答;那你觉得我如何呢？当然结果那夜酒钱我来付，都是自找的。

  网络对文字发表不用负责任，所以我居然也可以写。所以，对这死板的屏幕写东西不用再思考，但一般来说不思考可能是另一种思考。

又是一般，写的都是过去的时间，刚过去了一秒，现在的观念说来就是‘历史’。

所以可以说‘历史’了。 昨天晚上在朋友家喝酒抽烟聊天。大概这三者向来会自然在一起。它们没有谁是谁的‘师’，没有先来后到，不分彼我。

巴黎的夜紫蓝，西方人一般深的眼睛看着忙碌地面。不知道上天有没有表情，没有假期的它累么？

有假期的我们在宽敞的阳台。平行的高度看到的是路面。城市地面上永远是车，鸽子在角落睡觉，屋顶野猫在散步，阳台上还有酒杯。

两人聊天是很好玩的，因为想起相声也是两人。有问有答，话头转动。句子一路流淌，和抽的烟一起在空中散开。再吸一口，话语也跟着再次开始了。

有聊天就有可能有音乐，其实聊天声也像` 音乐` 。朋友在电脑前轻按。那刻后Nick Drake开始了讲自己的人世，歌者嘴里吐出莲花，丝丝情绪飘在幽谷中。听上去是一些安美闲淡的曲子，喜欢他的镇定，很里面是美丽的痛苦。感觉属于一种旁观者的态度看他周围的其他，对生活的疑问在他的脑海。并不了解他，也不懂的他唱的语言。我在音乐中问。

音乐美学还是在吉他旋律中做文章，配器不繁琐。剑点到可以了，Nick Drake也由此可以由天赋的歌喉做最直接的表达。这种朴素的东西最动人，是广阔无人的景色，耐久看。

朋友说，他死了。那无人的景色还在世界的远处。

塞纳河把巴黎划为左岸右岸，生死也是一界两岸。他在左岸还是右岸。

2004年9月14日