<nettime> [ 0100101110101101.ORG ] They're Not Just Mean

[PROPAGANDA@0100101110101101.ORG]

>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
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>>>>
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>>>> PROPAGANDA:
**** HTTP://WWW.0100101110101101.ORG/PROPAGANDA
>>>>
>>>>

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