Lorna Mills and Sally McKay
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Sally McKay: GIFS / cv and contact
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Our Conservative government continues to pursue a fellatial relationship with the American Entertainment Industry.
(And I'll be sent to prison for posting this dolphin gif, but not for any of the right reasons)
From Things That Are Doing It:
Be 9 years old and waste a day on that site.
Sunday - David Bowie
Oh You Pretty Things
Be my Wife
Wild Is The Wind
(click through the image & scroll down to see & hear these bees in action)
Adam Zaretsky is going to be presenting on Appropriate Pervert Technology at the Subtle Technologies Festival (June 4-6). And Sarah Peebles will be talking about Pollination Ecology with Dr. Laurence Packer and Rob King. These are just two artists who jump out at me from the jam-packed schedule. Zaretsky sounds like a hoot. Here's an excerpt from his project VIVAVIVO!
Living Art is Dead:Subtle Tech is an ambitious festival that always provokes some kind of crazy-assed interdisciplinary discussion. I go mostly for the Q&A sessions, where artists and scientists try to find common ground (and often and fail and sometimes go at it tooth and nail...and I know, I know...that's not supposed to be the idea - it's all about sharing concepts and playing nice. But hey, why should the dialogue between two different disciplines always be conflict-free? Let's get into it!)
What is so sexy about the biological today? Is artistic product as fickle as our hollow markets? Worse still, is artistic product just an aid in the panic diversion of cash flows? Is art just another way to lure press coverage away from our mismanaged Computer World? Are the technologies of Cloning, Transgenics and Genomics just charismatic suck-holes seducing faux-independent art exploration? Are our artists slaves to the rhythm of the latest big boom/bust bubble, the biotechnological fad market? I would say yes, often yes. Sometimes bioart is a gateway drug, the road to harder drugs, war, creative accounting, fraud and dashed dreams. Some artists are like unwitting pimps and pushers, hooking dupes of waning cultural capital on the next ‘born to lose’ high-risk venture.