As a landscape, the undecidability (visual ambiguity arising from simulation) of virtual space is initially a question of the (event) horizon [that both bounds and exceeds the eye]. Like other landscapes, the stealth landscape is composed of atmospheres and terrains. The stealth body in the stealth landscape, as the fruition of Futurist agenda of speed and vectorial bodies, generates ambiguities of distance and position. The landscape of negation both slides from beneath and exceeds the pastoral lands cape tradition, as it does the urban tradition.1 http://noel.pd.org/topos/theory/sprawl-frame.html Stealth is a disappearance in some way there was no reflective surface facing you computer games are creating stealth landscapes he is there but he is not there lost highway trying to build these technologies into psychoanalysis you can be a formalist and not give a shit about painting going back and forwards back to interacting with the screen Stealth posits a mutable and deliberate relation between what is revealed and what is concealed, where one appears as opposed to where one is projected (both positionally and conceptually). Not an obscuring architecture, it should be a sophisticated response to aesthetics of disappearance. The stealth landscape engages assemblages and techniques of concealment and erasure derived from (stealth) technology (insofar as all technology is stealth technology).2 http://noel.pd.org/topos/theory/sprawl-frame.html questions of perception multiple perspectives and multiple points of view art work exist outside the role of the artist new york cyclist strategy you can do anything you like as long as you don't get hit social construction how we turn it (art) into a pro active museum technologies making the thoughts applied we've hit the screen there has to be a way beyond the postmodern - modern polemic when art is still born there is no object that is still born if it is not recognised or ignored work has the potential of being news group terminus is not a bus stop its a way of life why we like art and why we do what we do context is more important than content y generation when they dont want to know to much genteration below us are over stimulated we come hack to Perth it is the problem with Perth what we were talking about were people in general installation was the first attempt to get the work of the wall to become more interactive there is no longer a paternal interaction The convergence of computers and communications is producing an environment, a telematic culture, in which many cherished institutions and artistic practices are feeling challenged, threatened, or just plain redundant, as exemplified not least of all by that triumph of ideological instrumentality, the museum. The cyberstress that the new technologies and new media exert upon the Culture of Representation is felt as much at the larger political level as it is in individual, personal experience. The impact of telepresence, bionic diversity, distributed knowledge, collaborative creativity, and artificial life on our sense of self, our sense of what is natural, what it is to be human, indeed of the status and legitimacy of every day reality, is more than most traditional discourses can bear. The breaking point however is not the death of culture or the incoherence of consciousness but the revitalisation of our whole state of being and a renewal of the conditions and construction of what we choose to call reality.3 http://www.ntticc.or.jp/pub/ic_mag/ic015/ascott/ascott_e.html museum is hard of hearing in connection with this article he is dealing with a delivery of apparitions historically what I find interesting by the museum in WA combined with the art gallery art with stuffed birds art and museum were split social control by calling it a museum if it falls into the wrong hand it already has the shear mass of information about the museum is going to totally contradict what the culturally directed museum states arbiters of taste backlit the possibility of being seen people can interact nobody knows were it is going to go but the interaction from national museum virtual museum art is not PC culturally there is a consciousness with the border of the skin you are no better than a dog end on your shoe lost faith in the process destroy the image the soils just sand It just didn't feel right the bubble burst there wasn't any body who knew they wern't Pollocks 1970 Perth two years for importing a flase vemeer homo aestheticus Many proponents of postmodernism stress that theirs is not just one more 'ism' but instead represents a radical change of consciousness that throws into question Western society's 'modernist ideology of the exalted and redemptive character of art. By their critical examination of the orthodox, established assumption that art is inviolable and sacred, and by their discovery that orthodoxy has often masked repressive or narrow minded elitism, postmodern theorists have opened the door to a new consideration of the place that art has had or might have in human life.4 Darwinian basis for the value of aesthetics postmodernists dilutes aesthetics, through commodification can aesthetics be linked to artists as directly as aesthetics to art is postmodernist art not challenging because it is inexplicably linked to modes of capitalism The prority for Art & Language at that time was work in and at the interfaces between philoshophy of mind, the philosophy of language, epistemology, cognitive psychology, cybernetics, etc - much of which by the early 80s had been sort of pulled together under the titles of cognitive science and artifical intelligence.5 managerial restoration of the visual trying to create an history, or rather an interpretation of an history that is non negotiable web site is a site of production, the information upon the site is essentially documentation negotiating the space between the screen and the hardware is perhaps more at stake than swapping information with another person the site is about making a critical environment which is both of this place and practically anywhere the way the group is growing is almost biological, with an inbuilt connectivity through the tools that we have chosen 1.http://noel.pd.org/topos/theory/sprawl-frame.html 2.http://noel.pd.org/topos/theory/sprawl-frame.html 3.http://caiiamind.nsad.gwent.ac.uk/cyberception.html 4. .............................., Homo Aestheticus, preface p15 5. Terry Atkinson, The Siren Song of Dualism, Art Monthly Nov 96 UK Terminus = Paul Thomas Mark Cypher David Carson Brian Mckay Jeff Jones Barbara Bolt Theo Koning Jeremy Blank Alex Spremberg INTRODUCTION MEETINGS. ARTISTS E-Mail: p.thomas@curtin.edu.au Terminus=