Images from the new podcast

It is extremely creepy to me to think that somewhere, right now, in Second Life, my voice is being piped in and people are listening to it.

Ah, but so it goes. And here’s some info to follow up on our conversation.

Juria’s piece, Gnossienne Groggy Deep, is located here. (That’s a slurl, so it’ll launch SL.)

We had the damnedest time (as you’ll hear, if you listen to the conversation) getting the sound to work and also looking past the bits of broken code that were popping up everywhere. Still, having been familiar with Juria’s work, it was possible to tune these distractions out and still take the work in. Jeff’s comment that it reminded him of the kind of place where there would be a rave wasn’t really a negative, rather I think it speaks to this idea that the work looks more like a setting than a sculpture per se.

Selavy Oh’s piece is located on the third floor of Arthole (soon as I get a slurl, I’ll post it; but if you search for Arthole, it’s pretty easy to find).

The piece I consistently misidentify as The History of the World is actually The Origin of the World (doh!) and can be seen here. (I also mispronounce “crotch shot” and “anemone” several times, but oh well.)

We both make reference to Duchamps’ Rotoreliefs and Anemic Cinema, which just so happens to be on youtube, so:

I haven’t decoded this piece yet (at all, actually) but I am determined. I’m working on it. It’s clearly a work that deserves the attention paid to it, so I’m happy to put the time in.


~ by amyfreelunch on October 15, 2008.

7 Responses to “Images from the new podcast”

  1. Awesome show, Amy — you & Jeff definitely had some interesting dialogue. You both brought up some points & details about Selavy’s piece that help me understand it a bit more (like some of the references she made to other art that I wasn’t aware of – damn my sorely lacking art history knowledge!), but I am really not much closer to comprehending it. It really DOES demand a lot of thought & time spent there. It’s an amazing installation, and I kinda wish Selavy would just explain the whole thing — simply because I just wanna KNOW! Haha. Like, in the sense that I don’t want to miss any of the details or subtleties or meanings.

  2. oh dear, i just don’t know what to say! thanks, amy and jeff, for talking about it, and for all the fantastic comments and huge compliments!

    if there’s interest, how about arranging something like an artist’s talk?

  3. Hi Amy,

    I really enjoyed the show, it’s great that you can dedicate so much time to the artists, it is not only more interesting for us listening but it allows you to really get into the deeper aspects of the work without having to rush to the next one.

    Juria’s ‘Gnossienne Groggy Deep’ is a tricky one to dissect. When I visited, it took quite some time before the subtle complexity of it became evident and then all the elements suddenly fell into place and something very unexpected happened. For a moment, standing there, I started to feel like some sort of shift was happening in my reality, it reminded me very much of experiences I’ve had with certain substances, that moment when the drug starts to take effect and things become disjointed and unreal. Like you and Jeff observed, it was indeed reminiscent of a “rave” environment, and of course not some tacky tourist joint, but a cool underground happening, or illegal warehouse party. This comparison does not undermine Juria’s art, it is a compliment, the music and culture in that scene has had a massive impact and is of huge importance to many people.

    So, what was surprising about ‘Gnossienne Groggy Deep’ is that whilst it appears so seemingly understated, spend the time there that it demands and you might just be rewarded with a potent, even psychedelic experience.

    In Juria’s notes he says –
    “In the mind, there is a place just out of reach between knowing and feeling. When we first wake, we have glimpses of it: colors, fears, textures, childhood smells, organic sensations, birth and death. A mix of illogical but powerful things that defines us, if in very subtle ways.”

    So, we can see that he’s clearly trying to invoke a powerful sensory experience. The state he describes between waking and sleeping is similar to what I experienced there and definitely akin to psychoactive drugs that alter the thought processes of the brain and our perception of reality.

    So, congratulations Juria, it works!

    I have some thoughts about Selavy’s ‘systems of reference’ too, but my hands need a break from typing. Back later…

  4. Hey Amy and Jeff.
    I appreciate your thoughts on the piece a lot. I actually got on 20 minutes into your podcast after waking up and just missed your talk about my piece. That’s Tokyo time for you. Then I had to wait until the MP3 arrive in the show archive. Man, was I impatient! I’ve always loved Amy’s critiques since they remind me of art school at the best of times. With hubby Jeff joining forces, it certainly was an interesting engagement. Since Jeff is rather new to sl art, this podcast would be a good as a primer for people trying to make the paradigm switch between real world art and virtual.

    As for the review, I couldn’t help feeling doubts about the effectiveness of this work to inspire conversation among art critics. I used to feel in my real world work that if people were left speechless then that was a good thing. I don’t know anymore. As they said it’s an experiential piece (Jeff’s reference to the experience economy) and not really “about” anything so much as “being” in the piece. What value being is or being about something really has for a viewer, evades me.

    Never having really been into psychedelic drugs, I’m not sure if a psychedelic experience is what I was after. Layering textures, sounds, glow, color to make an effect based on a fair amount of randomness is about the best explanation I can give. How it makes me feel is usually where the texts I write come from but rarely were preconceived.

    Having been a conceptual artist in rl in my younger years and never really appreciating truly visual work such as painting, I find it kind of ironic that my virtual art has evolved this way. I suppose I could have been seduced into it by the rich tools and special effects of the medium. But to be fair to myself, I think I am looking for something and as Arahan kindly mentioned, in this piece it takes time to really watch.

    Listening to the very different discussion that happened around Selavy’s piece, I honestly felt a certain amount of envy for her work’s ability to draw out critic on many levels from art historical to practical joker. I felt like the dumb artist who made dumb art. And that was no blame for Amy and Jeff’s very generous review. I suppose words and experiences are hard to connect in the case of my work. But what experience is supposed to make you feel, I can’t really say without just saying how it made me feel.

    So I suppose I come off sounding negative but I am really trying to express my frustration in my own art development. I really appreciate the podcast and what Amy and Jeff discussed.

    There are two new sister pieces that sprang from Gnossienne Groggy Deep and are playfully called “Gnossienne Sustainable Dream” and “Gnossienne Just Dessert”. You can access them by clicking on the pyramid shaped teleporters in the original piece. I don’t want to say much about them but will only say that they’re derivitiaves of the first Gnossienne but in very different tones and forms. I hope you get a chance to be in them.

    Thanks again for the critique, this super podcast and supporting my work Amy, Jeff and Arahan.

    xo, Juria/Lance

  5. I just woke up,so this isn’t going to be that articulate, but:
    I’ve been thinking about the relationship to a work like this one and, say, Spiral Jetty or other earth art works. I’m wondering if maybe we were quick to put it in the “rave” category just because of the technology that’s being used.

    Anyway – it’s a thought… I’ll chew over it some more. Cheers, Juria.

  6. Hey Amy,
    Don’t get me wrong, a rave is a fine comparison. I’m just expressing my own fears about whether my work is “content-free” and therefore lacks substance to talk about from a critical, theoretical perspective. But somehow in my ego of egos, I also remind myself that some pieces and even bodies of work don’t fit the critical perspective. A question for you and myself, why do artists and critics look for explanations for artworks and why the way they are? I’ve been doing it for years but never asked myself why.
    – J

  7. There was a great moment in your radio show last week, where you were ejected from Selavy’s ‘Systems of Reference’ and remarked, excitedly, that you expected all was about to be revealed, the discovery of “the key” to understanding what the hell it was all about! Well, that didn’t quite happen but it was a thoroughly intriguing attempt at unravelling what is evidently a very intricate and smart work. I’m not surprised people are left somewhat perplexed and whilst I don’t pretend to understand all its nuances I do know that it is in part a commentary on the art world, both physical and virtual.

    When I first entered the space I was struck immediately by the impressive scale and beauty of it all, and then noticed the mysterious movements of the objects, seemingly preoccupied with some sort of routine (calculations?). There is a lot to take in and once you stumble upon the lower level it just takes on a whole other level of meaning that adds to the complexity. This is exactly what I love about the work, that it demands you visit more than once and spend the time necessary to unravel the conundrum. I’m definitely still decoding it.

    I do think many people find it intimidating though, firstly because it is so radically different from the vast majority of Second Life art on offer, and secondly that the intent is not immediately apparent. Only the most dedicated visitor will get something out of the work, and in SL we all know attention spans are generally short. Also something you touched upon in your show was you doubted if there was an audience in SL for such sophisticated art, people who could recognise the references to Duchamp’s Rotoreliefs for example. There clearly is but it only a very small number.

    I admire plenty of artists in SL but I suppose Ichibot Nishi is the only other I can think of that reaches the same level of sophistication as Selavy, they both have a special ability to infuse their work with multiple layers and meaning.

    I really hope you take up Selavy’s suggestion of an artist’s discussion, it would be a great opportunity to really get into the deeper aspects of this work and many other topics.

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