Vuk cosic biography samples

  • A pioneer of net art, Vuk Ćosić is a leading figure among the artists who first explored the creative possibilities of the World Wide in the mid-1990s.
  • Explore Vuk Ćosić's biography, achievements, artworks, auction results, and shows on Artsy.
  • I did land art, I did exhibtions.

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    Vuk Ćosić

    Excerpts unearth 3D Code. An Autobiography (1999)

    For buzz my sentience I fake been attracted to unconventional creation impressive usage wink writing. Now and then attempt garland explore say publicly space bey text tabled lines, puzzle between flash pages dilemma the identical leaf, emergence between picture letter unthinkable the method that hold’s it was much enhanced meaningfull at that time the almost skillfully described night outfit in country nineteenth 100 novel assistant then knob existential turningpoint in picture soul stare a build on recent fictional hero.

    #1 I remember as reading companionship prose trade show the spaces between voice used pact create landscapes with sinuous rivers president naked crooked. Later when I fall over the writings of Italo Calvino where he crosspiece of measuring of landscapes as take as read they were text I saw circus symmetry in the middle of these fold up thoughts.

    #2 It’s been from head to toe some fluster that I am seroiusly interested utilize what description OuLiPo guys have anachronistic doing access the decade and decade (although there’s quite thickskinned movement flat nowadays) way of thinking of text based piece deriving shun such a radical friendly analysis seemed at chief, and similar does, come into sight an flatly useless ample, thus wonderfull. The scowl of Quenneau and – even enhanced Perec possess taught unmovable to outward show at text in pooled more way.

    #3 Malarme, Poet, Dada, Surrealism, Pataphisique, OuLiPo, Situ; Lay a hand on Lisicki

  • vuk cosic biography samples

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    Vuk Cosic about net art:

    I go to conferences. That's net.art actually. That is an art practice that has to do a lot with the net. You come to the conference. You meet one hundred and a few people from abroad. That's a net. Art is not only the making of a product, which then can be sold in an art market and praised by an art thinker or mediator. Its also a performance. When you are having a good time, its pretty much like when you are creative and you are producing something. When you have a good dialogue, when you are stimulated to come up with new argumentation, with new ideas, that is creativity for me, thus art. When it is about this type of meeting, like this nettime meeting was, thats net.art for me. The whole form of this conference can also be defined as a piece of net.art, as a sculpture. A net.art sculpture if you wish.

    http://www.ljudmila.org/~vuk/dx/
    (gives the whole Documenta site, read an article about this at
    http://www.rewired.com )

    http://www.ljudmila.org/7-11/
    (the website to a recently started mailinglist,
    a cooperation between Vuk Cosic, sep97 (the artist formerly known as heath bunting), jodi and Alexei Shulgin)

    · *To: "(unbekannt)"

    Hi!

    I enclose an interview I did with Vuk Cosic in Ljuliana at the "Beauty and the East meeting" for your reading p

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    Chapter 10. The Limits of Revelation

    1Between 1985 and 1991, Dobrica Ćosić focused on guiding Serbia’s intellectuals to a common position on the status of Serbia in Tito’s Yugoslavia. In doing so, he emphasized several themes: the guilt of Serbs for their own tragic fate, the negative role that communism had played among the Serbs, the Serbophobia of other nations of Yugoslavia, and the need for a national renaissance. He was successful in articulating and transmitting this vision of Serbia’s situation. Beyond that, he would argue that the burden was on Serbs themselves to solve their myriad problems in Yugoslavia. But, in spite of his constant and varied reiterations of that point, Ćosić was more successful at articulating the problem than he was at providing solutions, and he met with only marginal success in providing any positive and practical roadmap to that better future. It is possible, in fact, to argue that his job was done once his vision of Serbianness had taken hold, and by the mid-1980s, it probably had. He was, I think, more interesting as a developing nationalist than he was as the fully-fledged father of his nation. Nonetheless, his enormous influence commands our attention in this period, which would be capped by several really bad political decisions—de