{"id":6535,"date":"2006-04-01T12:35:23","date_gmt":"2006-04-01T12:35:23","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/04\/01\/adventures-in-i\/"},"modified":"2006-04-01T12:35:23","modified_gmt":"2006-04-01T12:35:23","slug":"adventures-in-i","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/04\/01\/adventures-in-i\/","title":{"rendered":"Adventures in Illegal Art"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

We caught up with a friend last night for dinner followed by Mark Hosler’s
\npresentation, "Adventures in Illegal Art: Creative Media Resistance and
\nNegativeland" in SU’s Shemin Auditorium. Hosler’s been involved with
\nNegativeland<\/a> for 25 years. The group
\nself-identifies with media hoaxes; provocative audio-mixed new media films and
\nshorts; and radical fair use
\npolitics<\/a> (i.e., it’s all public domain). They’re well-known for
\nlifting material from U2<\/a>, mixing
\nit into a two-sided vinyl single including profanity and stolen U2 cuts, then
\nrepackaging the album in a jacket with U2 featured prominently so as to dupe
\nunsuspecting consumers. Lawsuits followed, as you might expect, and Hosler
\nalluded to a dicey four years, fraught with legal uncertainty. Here’s that album cover:<\/p>\n

\n<\/p>\n

<\/p>\n

Hosler opened with a short on stealing, mixed from "There’s No Business Like
\nShow Business<\/strike> Stealing" sung by Ethel Merman. Other
\nsegments included "Guns" (lots of B&W footage of ads for guns, westerns, etc.), and
\n"The Mashin’ of the Christ." “Mashin” used a mix of some evangelical
\npreacher’s Cold War prophecy that the West would be overrun with Communism, that
\neveryone would be converted by a mantra of "Christianity is stupid; Communism is
\ngreat." The song was matched with clips from 25 crucifixion scenes from movies,
\nbut I’m not sure I took the critique. It was violent, to be sure, but
\nbeyond that I was unclear whether it sought to comment on Christianity,
\nillogical evangelicalism, or the spectacle of crucifixion scenes. Hosler
\ntold us about Negativeland’s well-known media prank–a press release they
\ndistributed in California about a cancelled tour, shut down because federal
\nauthorities connected them to a quadruple homicide in Rochester, Minn (much of
\nwhich was fabrication, only the murders were real). The San Francisco
\nNBC (or was it CBS) affiliate eventually caught wind of the release and covered
\nit, interviewing the "band" and featuring the event as a top news story. Then there was
\nfallout and confusion (it had<\/i> to be true because it was on the tube).
\nHe also shared shorts on Casey Casem losing his cool–a tirade of shrits and flucks–while
\nrecording a Top 40 dedication for a deceased pet; Ariel, the Little Mermaid,
\ndrawn to synch with the dialogue from a tapped phone conversation with some exec
\non proprietary rights; and a remix of Julie Andrews’ "Favorite Things" from the
\nSound of Music<\/i> made-over to express only contemptible things. <\/p>\n

The best part by far was Hosler’s description of the group’s methods, the
\nuncanny ways materials accrete, piling up and mounting an almost irresistible
\nforce. "It’s as if a good idea walks in the room. You can’t just
\nslam the door on it," he said. It echoed Sirc in "Box-logic" from
\nWriting New Media<\/i>: a dissatisfied collector who gathers, assembles, and
\nrealizes surprising ties. And also, there was a surprising dig on SU’s
\nNewhouse journalism program and on formal, explicit education in art ("I’d never
\nattend an art program," or something close to that.)<\/p>\n

Hosler refined his craft–cuts and pastes–during the 80’s and 90’s. He
\nspoke of splicing tape and two-reel recorders. And he also made it clear
\nthat he thought of Negativeland’s albums as concept albums; he thought of those
\nalbums as having a kind of coherence that dissolves in the age of mp3 exchange.
\nAny individual track–detached from the artifact of the album or CD, the jacket
\nnotes–diminished the conceptual coherence of the album. His response to
\nnew media, to the digital’s blurring of media, was tentative, uncertain (or
\nperhaps just underdeveloped because we were out of time). He also said he
\nwasn’t sure whether the group had a myspace account. Apparently someone
\noutside the group claimed a space for Negativeland, but they haven’t done much
\nto bolster their online presence. Hosler ended by noting that times have
\nchanged. Once scarce materials (the Casey Casem rant, for example) now
\ncirculate more freely than before. They’re abundant. And as he said
\nso, I had the impression that the counterculture rush of Negativeland’s work
\nhas–for Hosler–lost some of its novelty because of massification, diminished
\nin waves of hobbyists trying–through success and failure–to create homegrown,
\nDIY media projects.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>We caught up with a friend last night for dinner followed by Mark Hosler’s presentation, "Adventures in Illegal Art: Creative Media Resistance and Negativeland" in SU’s Shemin Auditorium. Hosler’s been involved with Negativeland for 25 years. 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The talk is relevant to my work because Manovich wants to create visualizations that deliberately alter the default scale at\u2026","rel":"","context":"In "Methods"","block_context":{"text":"Methods","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/method\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7034,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/09\/05\/post-7\/","url_meta":{"origin":6535,"position":2},"title":"Sirc, “Box-Logic”","author":"Derek Mueller","date":"September 5, 2006","format":false,"excerpt":"Sirc, Geoffrey. \"Box-Logic.\"Writing New Media: Theory and Applications for Expanding the Teaching of Composition. Logan: Utah State UP, 2004. Sirc emphasizes logics of annotation and collection as he develops a new media pedagogy drawing on the variations of the box as it figures into the work of Joseph Cornell, Walter\u2026","rel":"","context":"In "Visuality and New Media"","block_context":{"text":"Visuality and New Media","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/visuality_and_n\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6621,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/09\/12\/analogon-and-sc\/","url_meta":{"origin":6535,"position":3},"title":"Analogon and Scope","author":"Derek Mueller","date":"September 12, 2006","format":false,"excerpt":"After I just happened to be looking back on a few notes I plunked down this time last September, I caught wind of Daily Kos' entry predicting Bush's impending outrage over wide-angle lenses (via). The set of images is compelling for its amplification of invented moments--the pose, the emptied site,\u2026","rel":"","context":"In "Media"","block_context":{"text":"Media","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/media_massage\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6434,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/10\/18\/eloquent-images-2\/","url_meta":{"origin":6535,"position":4},"title":"Eloquent Images III","author":"Derek Mueller","date":"October 18, 2005","format":false,"excerpt":"Barta-Smith and DiMarco - \"Same Difference: Evolving Conclusions about Textuality and New Media,\" 159-178 In \"Same Difference,\" Barta-Smith and DiMarco argue for an evolutionary view of new media (precedent rich) rather than a revolutionary view (precedent creating or precedent exploding).\u00a0 Beginning with \"what is a visual revolution?\" and concerns about\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6453,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/11\/16\/hansen-new-phil\/","url_meta":{"origin":6535,"position":5},"title":"Hansen – New Philosophy for New Media (2004)","author":"Derek Mueller","date":"November 16, 2005","format":false,"excerpt":"The foreword by Tim Lenoir, \"Haptic Vision: Computation, Media, and Embodiment in Mark Hansen's New Phenomenology,\" lays out groundwork on the \"deterritorialization of the human subject\" in terms of digital media, detachment and problems of reference.\u00a0 Lenoir touches on Hayles' account of post-humanism (also Bill Joy's \"Why The Future Doesn't\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6535","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=6535"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6535\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=6535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=6535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=6535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}