Concept

by Isabel Saij

Context:

1-How has humanity learned since centuries? Any progress was based on previous discoveries and on the avalaibility of documents, researches,...

2-Recently (second half of the 20th centur) more and more discoveries, products, creations are "protected" with patents, copyrights,...

3-The reaction to the protection on softwares was the "open source" launched in the mid 80's.

4-The mid 90's saw two other phenomenons: the apparition of internet and the growing number of people having their own pc at home. It means now that information is widely avalaible, knowledge is easy to share, communication is possible through out the world,...

5-But it is not so obvious because the majority of what can be found on internet is either patented or copyrighted. In a way or another it is protected.

6-The response to that point came in 2000 with the creation of new licenses (creative commons, free art license,...) in order to allow the transmission and diffusion of knowledge and culture. In other words to come back to the roots (see point 1 above) and be active as artists, writers, musicians,...in this movement.

Statement:

The decision to work in the frame of a copyleft license has many implications. As said above such a website contributes in its way to the diffusion and sharing of culture. Each participant comes with his/her own ideas, with philosophical, political, social, economical, aesthetical,... motivations. It’s worth to underline that the current technology allows to work together independently from any national or cultural distinctions. The decentralized process contains/carries a subversive matter: the loss of power...

Principles of the "Free Art License":

With this Free Art License, you are authorised to copy, distribute and freely transform the work of art while respecting the rights of the originator.

Far from ignoring the author's rights, this license recognises them and protects them. It reformulates their principle while making it possible for the public to make creative use of the works of art. Whereas curren tliterary and artistic property rights result in restriction of the public's access to works of art, the goal of the Free Art License is to encourage such access.

The intention is to make work accessible and to authorise the use of its resources by the greatest number of people: to use it in order to increase its use, to create new conditions for creation in order to multiply the possibilities of creation, while respecting the originators in according them recognition and defending their moral rights.

In fact, with the arrival of the digital age, the invention of the Internet and free software, a new approach to creation and production has made its appearance. It also encourages a continuation of the process of experimentation undertaken by many contemporary artists.

Knowledge and creativity are resources which, to be true to themselves, must remain free, i.e. remain a fundamental search which is not directly related to a concrete application. Creating means discovering the unknown, means inventing a reality without any heed to realism. Thus, the object(ive) of art is not equivalent to the finished and defined art object.

This is the basic aim of this Free Art License: to promote and protect artistic practice freed from the rules of the market economy.

FAQ:

Who can participate?

Well, everybody can participate: there is absolutely no condition of eligibility!

What should I know before participating?

The copyleft movement is perfectly legal: it is based on a license whichdescribes precisely in which legal frame it is working.
The main idea is to transfer some of your "rights" to others (see above theprinciples), "rights" you get automatically as soon as you've have made a creation.
More information:
http://artlibre.org/licence.php/lalgb.html

What are the rules to participate:

-only something (drawing, photo, text, music,...) on which you have thef ully copyright can be put under a copyleft license.

-you can make a work, write a text or compose music,... and put it under the"Free Art License". Then you have an original work which is now copylefted.

-you can modify a work, add a comment to a text, arrange a music which is already under the "Free Art License". The result of your adaptation is a derivative work. The derivative work MUST also be placed under the same license.

-you can also use a derivative work and bring your own touch. You produce another derivative work which must also be placed under the same license.

What is forbidden?

For instance you can't:

-download a photo, a picture from internet or from any search machine (like Google) and put it under copyleft or add it to a copyleft work if you have no idea of the legal status of the photo, picture,...Even without indication the work is automatically protected by a copyright.

-use a song of the "Beatles" (or any other band) to illustrate a copyleft work.

-make your own a copyleft work (in other words to put a copyright on a copyleft creation)

For the project "Sheep's parade" which came just before "Big Sheep", Miguel Jimenez "Zenón" sent a diashow. It was a composition of 3 pictures starting from the famous painting "Las Meninas" by Velázquez. Miguel Jimenez made a modification to the original reproduction of the work and he gave us his agreement to put his creation under copyleft. It shoudn't be a problem because the painting is since a long time in the public domain. But it is a problem because now the photos of the painting are copyrighted! A scan from a book, a download from internet is not allowed until you ask for permission! The only solution would be to do yourself a photo or to get an authorization! In order to avoid any problem or to wait for an hypothetic agreement, we have decided that Miguel Jimenez' s work should not be placed under copyleft.

How can I enter the "Big Sheep" project?

-add an original work to our collection of sheep

-modify one of the original work (located here: http://arteonline.arq.br/blog/images.htm ) and send it back to us at arteonline@arteonline.arq.br, subject > BIG SHEEP.

-modify a derivative work (located here: http://bigsheep.blogspot.com/ -click the images to enlarge them ) and send it back to us at

-participate in the blog Big Sheep (http://bigsheep.blogspot.com ) with comments and texts.

- the remixed works can be images, animations, movies, texts, whatever you imagine... but they have to measure 640 X 480 pixels and have not more than 300 kb.

SEE COMMENTS ABOUT THIS BLOG HERE (page 07).

Alguns Comentários / Some Comments

1- Português:

Eis aqui os meus primeiros dois comentários a respeito dos trabalhos que estou clonando e criando "remixes".

I)- "De Velázquez y Ovejas" / "Refranero español"...

Todos devem conhecer a famosa pintura de Diego Velázquez - que, embora universalmente conhecida como "Las Meninas", possuía inicialmente o título "A Família". Posteriormente, salvo de um incêndio no palácio real em 1750, e levado para o Museu do Prado em 1819, o quadro se tornou conhecido pelo seu atual nome. É uma pintura sobre a qual já muito se escreveu, e que mereceu inclusive a atenção de Michel Foucault em "Les Mots et les choses"(As Palavras e as Coisas).

Existem também releituras de "As Meninas" de Velázquez, entre elas uma série de Picasso, que bem demonstra que o gênio espanhol também considerava que a partir de uma obra de arte, muitas outras obras poderiam e deveriam ser criadas. Essa é exatamente a base da Arte Livre , a qual estamos defendendo através do Projeto "Big Sheep". Por isso escolhemos "De Velázquez y Ovejas" de Miguel Jimenez "Zenón" para iniciarmos os comentários dessa "clonagem in progress Big Sheep". Uma obra de arte não é um compartimento estanque, o que faz com que ela seja uma obra de arte é justamente todos os significados, pensamentos e criações que são acrescidos a ela através do tempo.

Jimenez "Zenón" , enviou para o Sheep's Parade (1) uma obra muito divertida chamada: "De Velázquez y Ovejas" ou também "Refranero español"... Nessa obra as meninas de Velázquez foram retiradas do quadro e vão aparecendo num misteriosos fundo escuro com imaginativas cabeças de ovelhas. Há também uma outra ovelha que surge inusitada entre as saias da infanta Margarida, a qual aparece no quadro, ladeada pelas damas. Ao observar o trabalho, a primeira sensação é de estranhamento e logo depois acontece o riso.

Explica Jimenez "Zenón":

"En realidad churras y merinas son dos tipos de ovejas, parecidas pero distintas que no deben mezclarse...el chiste, o la gracia, es que hay gente "culta" que aplica el dicho de esta manera : no juntar las churras con las meninas"

É que existe um dito popular espanhol que afirma que não se devem juntar as churras com as merinas, sendo que CHURRAS E MERINAS são duas raças parecidas porém distintas de ovelhas. Contudo há muita gente "culta" para qual o dito popular é " no se deben juntar las churras con las meninas"

Na margem esquerda da peça "De Velázquez y Ovejas", Jimenez "Zenón" escreveu:

-"Velázquez juntaba las churras com las meninas"

As Meninas" em sua versão original é uma obra prima que faz falar, que faz escrever, mantendo ao mesmo tempo um silêncio irredutível. A mídia de Jimenez "Zenón" diverte a quem quer que a observe mesmo que se mantenha em silêncio para os que não conheçam o dito espanhol sobre as ovelhas churras e merinas.


Para o Projeto "Big Sheep" Miguel Jimenez nos enviou uma outra imagem. (Ver "Primeiro Remix, publicado em 17 / 06 / 2005)

II)- Ovelha Negra fui

ovelha negra fui
entre ovelhas virgens brancas
"pastoriei-as" em campos do céu
se se perderam entre nuvens
não sei"

Assim canta a poesia de Raymundo Amado Gonçalves tendo como fundo o desenho de Astréa El-Jaick.
A poesia, de excelente qualidade, instala, através de uma síntese perfeita,um triplo sentido ao substantivo ovelha.
E o magnífico desenho de Astréa El-Jaick acompanha esse jogo poético.
O Autor estará cantando ovelhas, seres humanos, nuvens?
Quem será a ovelha negra que guarda as ovelhas virgens brancas em campos do céu?
Uma ovelha negra mesmo, um pastor (a) de má índole como tradicionalmente está implícito na expressão ovelha negra, uma nuvem negra?
A desenho da ovelha-nuvem negra, repete-se num esmaecido céu azul esbranquiçado que não revela as ovelhas virgens brancas que se perderam entre nuvens.
E a ovelha negra, completamente imbuída de sua tradicional personalidade, não se importa nem um pouco com isso...
É tão fácil para uma ovelha se perder entre nuvens!
Quem sabe esse se perder entre nuvens não indique mesmo a perda da pureza, afinal, não eram ovelhas virgens brancas?
Não existirá uma conotação religiosa nesses versos? Não seria ela um tipo de crítica?
E o texto desenho de Astréa El-Jaick acompanha o ritmo do poema e simula o vento que carrega as nuvens e faz desaparecer as ovelhas nos campos do céu.

Um trabalho magnífico e muito bem elaborado pelo duo Raymundo Amado Gonçalves e Astréa el-Jaick. Ambos os Autores com extensa produção artística no cenário brasileiro, ele no campo da poesia e ela nas artes plásticas e gráficas.

http://arteonline.arq.br/sheep/ (Clique em Astréa & Raymundo para ver o trabalho.)


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2-English:

Here you have my two first comments on the works I am cloning and remixing.

I)- "De Velázquez y Ovejas" / "Refranero español"...

Everybody should know the famous Diego Velázquez painting - which, although, universally known as "Las Meninas" (The girls) owned initially the title "The Family". After being safe from a fire in the real palace (1750) and carried to Museum of Prado, in 1819, the picture became well-known under its current name. It is a painting about which many people have already written, and that deserved the attention of Michel Foulcault ("Les Mots et les choses" - The Order of Things).

Also there are re- readings of this Velázquez painting, among them a series by Picasso, what also demonstrates that the well known Spanish genius considered that starting from a work of Art, many other works could and should be done. This is exactly the basis of the Free Art , which we are defending through the Project "Big Sheep". It was because of this that we choose "De Velázquez y Ovejas" by Miguel Jimenez "Zenón" to start the comments of this "cloning in progress Big Sheep". A work of art is not a tight compartment, what makes a work of art be a work of art is exactly all the meaning, thoughts and creations which are added to it through the times.

Jimenez "Zenón", sent to Sheep's Parade (1) a very funny work called ""De Velázquez y Ovejas" or "Refranero español"... His work shows the Velázquez girls out of the traditional scene, they appear on a mysterious dark background with imaginative heads - sheep heads. Also there is another sheep head which appear among the skirts of the little Princess Margarida... When observing his work, the first sensation is unfamiliarity and soon after the laugh happens.

Jimenez "Zenón" told us:

"En realidad churras y merinas son dos tipos de ovejas, parecidas pero distintas que no deben mezclarse...
el chiste, o la gracia, es que hay gente "culta" que aplica el dicho de esta manera : no juntar las churras con las meninas"

Actually churras e merinas are two races of sheep, they are similar but distinct and they should not be mixed. the funny is that there are very "cultured" people that apply the sentence in this way: not to mix the churras with the meninas (girls).

At the left margin of his piece Jimenez "Zenón" wrote:

--"Velázquez juntaba las churras com las meninas." (Velázquez joined the churras with the girls.)

"Las Meninas" (The Girls) in its original version is a masterpiece which makes to talk and to write, keeping at the same time an unyielding silence. Jimenez "Zenón" media amuses to whoever observes it even though it keeps in silence for the ones that do not know the Spanish sentence on the race of sheep "churras" and "merinas".

To the project "Big Sheep" Miguel Jimenez sent us another image. (Look for , the First Remix, published on June 17 th 2005)

II)- Black Sheep I Was

"black sheep I was
among white virgin sheep
I shepherded them in the sky's fields
if they were lost among clouds
I do not know"

The poetry of Raymundo Amado Gonçalves sings on the drawing of Astréa El-Jaick.
The excellent quality poetry suggests, through a perfect synthesis, a triple sense to the noun "sheep".
And the magnificent drawing of Astréa El-Jaick accompanies that poetic game.
The Author will be singing sheep, human beings, clouds?
Who will be the black sheep that shepherds the white virgin sheep in the sky's fields?
The real black sheep, a pastor of bad nature as it is traditionally implicit in the black sheep expression, a black cloud?
The black cloud sheep's draw appears many times on a faded whitish blue sky which does not reveal the white virgin sheep that were lost among clouds.
It is so easy for a sheep to be lost among clouds!
Who knows if to be lost among clouds does not indicate the loss of purity, after all, were they not white "virgin" sheep?
Is there not a religious connotation in this verse?
Would not it be a kind of criticism?
And the drawing text of Astréa El-Jaick accompanies the rhythm of the poem and simulates the wind that loads the clouds and makes disappear the sheep inthe sky's fields.

A magnificent work and also very well elaborated by the duo Raymundo Amado Gonçalves and Astréa el-Jaick. Both Authors with widespread artistic production in the Brazilian scenery, he in the field of poetry and she in the fine and graphic arts.

http://arteonline.arq.br/sheep/ (Click on Astréa & Raymundo to open the work.)

Clones

“All the creations on this page are under a copyleft license according to the terms of the “Free Art License”

"Todas as criações nessa página estão sob uma licença copyleft de acordo com os termos da "Licença de Arte Livre"

(Click on the images to enlarge them / Clique nas imagens para aumentá-las.)

Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creations by Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenezz "Zenón"

Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creationsby Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez "Zenón"

Free Art

2005 - Regina Célia Pinto - Sem título / Este trabalho foi derivado das criações copyleft originais de Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez " Zenón"

2005 - Regina Célia Pinto - No title / This derivative work is made from the original copyleft creationsby Alexandre Venera, Astréa El-Jaick & Raymundo Amado Gonçalves, Miguel Jimenez "Zenón"

Free Art

2005 - Isabel Saij - Leadersheep / Este trabalho foi derivado das criações copyleft originais de Christina Orensztajn, João Pedro, Joesér Alvarez , Paulo Villela

2005 - Isabel Saij - Leadersheep / This derivative work is made from the original copyleft creations by Christina Orensztajn, João Pedro, Joesér Alvarez , Paulo Villela

Free Art

2005 - Isabel Saij - Grannie / Este trabalho foi derivado das criações copyleft originais de Miguel Jimenez "Zenón"

2005 - Isabel Saij- Grannie / This derivative work is made from the original copyleft creations by Miguel Jimenez "Zenón"




Free Art

2005 - Isabel Saij - Thoughts / Este trabalho foi derivado das criações copyleft originais de Colino & Babel & Joesér Alvarez

2005 - Isabel Saij - Thougths / This derivative work is made from the original copyleft creations by Colino & Babel & Joesér Alvarez




Free Art

2005 - Isabel Saij - Sweet Dreams /Este trabalho foi derivado das criações copyleft originais de Isabel Saij, Isabel Aranda - Yto , Muriel Frega

2005 - Isabel Saij - Sweet Dreams / This derivative work is made from the original copyleft creations by Isabel Saij, Isabel Aranda - Yto , Muriel Frega

Free Art

2005 - Isabel Saij - Mouton Nuage / Este trabalho foi derivado das criação copyleft original de Edward Picot, Christina Orensztajn

2005 - Isabel Saij - Mouton Nuage / This derivative work is made from the original copyleft creation by Edward Picot, Christina Orensztajn

Free Art

2005 - Isabel Saij - If you don't agree... / Este trabalho foi derivado das criações copyleft originais de Lia Belart , Regina Célia Pinto

2005 - Isabel Saij - If you don't agree.../ This derivative work is made from the original copyleft creations by Lia Belart, Regina Célia Pinto




Free Art


2005 - Isabel Saij - Fresco / Este trabalho foi derivado da criação copyleft original de Déa Junqueira

2005 - Isabel Saij - Fresco / This derivative work is made from the original copyleft creation by Déa Junqueira




Free Art

2005 - Isabel Saij - Bubbling Brains / Este trabalho foi derivado da criação copyleft original de JudSon/PlasmaStudy

2005 - Isabel Saij - Bubbling Brains / This derivative work is made from the original copyleft creation by JudSon/PlasmaStudy

Free Art

2005 - Isabel Saij - Moutons Cage / Este trabalho foi derivado das criação copyleft original de Edward Picot , Christina Orensztajn

2005 - Isabel Saij - Moutons Nuage / This derivative work is made from the original copyleft creation by Edward Picot, Christina Orensztajn

Free Art

2005 - Babel- Sem título / Este trabalho foi derivado da criação copyleft original de Edward Picot

2005 -Babel- No title / This derivative work is made from the original copyleft creation by Edward Picot

Free Art

2005 - Isabel Saij e Regina Célia Pinto- Sem título / Este trabalho foi derivado das criações copyleft originais de Isabel Saij , Regina Célia Pinto

2005 -Isabel Saij and Regina Célia Pinto- No title / This derivative work is made from the original copyleft creations by Isabel Saij , Regina célia Pinto

Free Art

2005 - Lia Belart - Sem título / Este trabalho foi derivado das criações copyleft originais de Lia Belart; João Pedro

2005 -Lia Belart - No title / This derivative work is made from the original copyleft creations by Lia Belart; João Pedro

Free Art

2005 - Lia Belart - Sem título / Este trabalho foi derivado das criações copyleft originais de Lia Belart; João Pedro

2005 -Lia Belart - No title / This derivative work is made from the original copyleft creations by Lia Belart; João Pedro

Free Art

2005 - Isabel Saij - Sem título / Este trabalho foi derivado da criação copyleft derivada de Babel; Edward Picot

2005 -Isabel Saij- No title / This derivative work is made from the derivative copyleft creation by Babel; Edward Picot

Free Art

2005 - Regina Célia Pinto- Sem título / Este trabalho foi derivado da criação copyleft original de David Daniels

2005 - Regina Célia Pinto- No title / This derivative work is made from the original copyleft creation by David Daniels

Free Art

2005 - Antoine Moreau- antomoromouton1 / Este trabalho foi derivado das criação copyleft original de Isabel Saij .

2005 - Antoine Moreau- antomoromouton1/ This derivative work is made from the original copyleft creation by Isabel Saij .

Free Art

2005 - Antoine Moreau- antomoromouton2/ Este trabalho foi derivado das criação copyleft original de Regina Célia Pinto

2005 - Antoine Moreau- antomoromouton2/ This derivative work is made from the original copyleft creation by Regina Célia Pinto




Free Art

2005 - Isabel Saij - "Sheepishly his heart was beating" / Este trabalho foi derivado da criação copyleft original de Jeremy Hight

2005 - Isabel Saij - "Sheepishly his heart was beating" / This derivative work is made from the original copyleft creation by Jeremy Hight

Free Art

2005 - Babel - "Shepherd house (Inter Ethyl) " / Este trabalho foi derivado da criação copyleft original de Jeremy Hight

2005 - Babel - "Shepherd house (Inter Ethyl) " / This derivative work is made from the original copyleft creation by Jeremy Hight

Free Art

2005 - Millie Niss and Martha Deed - "Sheep Apnea" / Este trabalho foi derivado da criação copyleft original de Muriel Frega

2005 - Millie Niss and Martha Deed- "Sheep apnea" / This derivative work is made from the original copyleft creation by

Muriel Frega

Free Art

2005 - Regina Célia Pinto- sem título / Este trabalho foi derivado das criações copyleft originais de Muriel Frega; Babel

2005 - Regina Célia Pinto - no title / This derivative work is made from the original copyleft creations by

Muriel Frega; Babel

Free Art

2005 - Denis Charmot- sem título / Este trabalho foi derivado da criação copyleft original de Isabel Saij

2005 - Denis Charmot- no title / This derivative work is made from the original copyleft creation by Isabel Saij

Free Art

2005 - Regina Célia Pinto- "A Alma da Ovelha" / Este trabalho foi derivado das criações copyleft originais de Robert Cottet ; Regina Célia Pinto

2005 - Regina Célia Pinto - The Sheep's Soul / This derivative work is made from the original copyleft creations by Robert Cottet ; Regina Célia Pinto

Free Art

2005 - Evelin Stermitz - Lost Sheep / Este trabalho foi derivado da criação copyleft original de Christina Orensztajn .

2005 -Evelin Stermitz - Lost Sheep / This derivative work is made from the original copyleft creation by Christina Orensztajn .

Free Art

2005 - Isabel Saij - "La Morale de la Fable" / Este trabalho foi derivado da criação copyleft original de Miguel Jimenez - "Zenón".

2005 -Evelin Stermitz - "La Morale de la Fable" / This derivative work is made from the original copyleft creation by Miguel Jimenez - "Zenón" .

Free Art

2005 - Regina Célia Pinto- "La Bergère Danse" / Este trabalho foi derivado da criação copyleft original de Jiji .

2005 - Regina Célia Pinto - "La Bergère Danse" / This derivative work is made from the original copyleft creation by Jiji .

Remix

Criações Copyleft Originais / Original copyleft creations

1- Alexandre Venera - aLe

2- Angela Genusa

3- Astréa El Jaick & Raymundo Amado Gonçalves

4- Christina Orensztajn

5- Colino & Babel

6- David Daniels

7- Déa Junqueira

8- Dirk Vekemans

9- Domenico Olivero

10- Edward Picot

11- Evelin Stermitz

12- Isabel Aranda - Yto

13- Isabel Saij

14- Isabel Saij

15- Isabel Saij





16- Hayat Bouzid

17- Jeremy Hight

18- Jiji

19- João Pedro

20-Joesér Alvarez

21- judSon / Plasma Study

22- Lia Belart

23- Luigia Cardarelli

24- Miguel jimenez "Zenón"

25- Muriel Frega

26- Paulo Villela

27-- Regina Célia Pinto

278- Regina Célia Pinto

29- Robert Cottet

Todas as imagens acima são criações originais copyleft, provenientes da Seção de Clonagem do Projeto. Elas foram utilizadas por vários artistas para produzir imagens derivadas.

All images above are original copy left creations, originating from the Project's Cloning Section. They were used by several artists to produce derivative images.

The Big Sheep's Son: "Quixotes and Sheep"

"Quixotes and Sheep"

http://arteonline.arq.br/quixote/

It is a collaborative, copyleft and interactive net.art piece.

The creation is the result of works made by several artistsin different countries:

1- Alexandre Venera (Brazil) > the Author of the project and also his programmer.
2- Babel (Canada)
3- Edward Picot (UK)
4- Joesér alvarez (Brazil)
5- Isabel Aranda Yto (Chile)
6- Isabel Saij (France)
7- Jeremy Hight (USA)
8- Juliana Teodoro (Brazil)
9- Miguel Jimenez "Zenón" (Spain)
10- Muriel Frega (Argentine)
11- Regina Célia Pinto (Brazil)

The works of each artist and the net.art piece itself are placedunder a copyleft license: the "free art license". The text of the license is available at the following adress:http://artlibre.org/licence.php/lalgb.html

"Quixotes and Sheep"was inspired by the project "Big Sheep". Some of the original or derivative creations of "Big Sheep" and new worksdedicated to the theme are used in "Quixotes and Sheep"which interactively includes movies, stills, texts and sounds; simultaneously displayed in 3 areas of the screen. The project is open and new collaborations are welcome.

"Quixotes and Sheep"is based on the chapter 18 of Cervantes' book.The general theme is a simple scream/question to"sick Quixotes" and "gluton Panzas": we are sheep??!!

It has been included in INGENIO 400

http://www.ingenio400.com

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"Ovelhas de Quixotes"

http://arteonline.arq.br/quixote/

Trata-se de uma peça de net.art colaborativa, copyleft e interativa.

Sua criação é o resultado do trabalho feito por diversos artistas em países diferentes:

1- Alexandre Venera (Brasil) > o autor do projeto e da sua programação.
2- Babel (Canadá)
3- Edward Picot (UK)
4- Joesér Alvarez (Brasil)
5- Isabel Aranda Yto (Chile)
6- Isabel Saij (França)
7- Jeremy Hight (USA)
- Juliana Teodoro (Brasil)
9- Miguel Jimenez "Zenón" (Espanha)
10- Muriel Frega (Argentina)
11- Regina Célia Pinto (Brasil)

Os trabalhos de cada artista e a peça de net.art no seu todo estão sob uma licença copyleft: a "licença de arte livre". O texto da licença está disponível em:http://artlibre.org/licence.php/lalgb.html .

"Ovelhas de Quixotes" foi inspirado pelo projeto "Big Sheep. Algumas das criações originais ou derivadas do projeto "Big Sheep" e alguns novos trabalhos dedicados ao tema foram usados em "Ovelhas de Quixotes", o qual interativamente inclui filmes, imagens, textos e sons dispostos simultaneamente em três áreas da tela. O projeto está aberto e novas colaborações serão bem-vindas.

"Ovelhas de Quixotes" é baseado no capítulo XVIII do livro de Cervantes. O tema geral é um simples grito / questão: para "Quixotes doentes" e "Sancho Panças glutões": nós somos ovelhas?

Esse trabalho está incluído no INGENIO 400 em:
http://www.ingenio400.com

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"Don Quichotte et les moutons"

http://arteonline.arq.br/quixote/

Il s'agit d'une pièce netart, collaborative et copyleft. Ont participé à cette réalisation:

1- Alexandre Venera (Brésil) Auteur de l'idée et programmateur
2- Babel (Canada)3- Edward Picot (GB)
4- Joesér Alvarez (Brésil)
5- Isabel Aranda Yto (Chili)
6- Isabel Saij (France)
7- Jeremy Hight (USA)
8- Juliana Teodoro (Brésil)
9- Miguel Jimenez "Zenón" (Espagne)
10- Muriel Frega (Argentine)
11- Regina Célia Pinto (Brésil)

Les travaux de chaque artiste et la pièce elle-même sont placés sous licence"Art Libre":http://artlibre.org"Don Quichotte et les moutons" est inspiré du projet "Big Sheep. Certaines oeuvres "originales" ou "dérivées" de "Big Sheep" ainsi que denouveaux travaux en relation directe avec le thème se trouvent dans"Don Quichotte et les moutons" qui présente interactivement de la vidéo, del'image, du texte et du son apparaissant simultanément dans plusieursparties de l'écran. Ce projet est ouvert et de nouvelles collaborations sont bienvenues.

"Don Quichotte et les moutons" est basé sur le chapitre 18 du livre deCervantes. Le thème général est un simple cri/question à un Don Quichotte malade et à un Sancho Pancha glouton: sommes nous des moutons? Ce travail a été sélectionné pour concourir dans la cadre du festival"ingenio400":

http://www.ingenio400.com

"Sheep", "Triptych - The Lost Sheep" and "Quixotes and Sheep"

by Edward Picot

During the spring and early summer of this year, I submitted three works to Regina on the subject of sheep. The first was a contribution to the Sheep's Parade, which she started in March 2005, and to which I sent a piece in May called (boringly) "Sheep". Then she announced the Big Sheep project at the beginning of June, and I submitted "Triptych - The Lost Sheep" . The third piece was "Don Quixote's Dream", which I submitted to the "Quixotes and Sheep" project at the beginning of July. These three pieces, in their original forms, can now be seen on my website at http://www.edwardpicot.com/ . All three were put together out of material originated by other people (although I wrote the texts for "Don Quixote's Dream" myself), and this is the first time I've made extensive use of "found" or "sampled" material.

Regina wrote a commentary on the first piece, "Sheep", in the Museum Newsletter. The piece is based on two paintings by the English Pre-Raphaelite painter William Holman Hunt. Regina noticed, of course, the political content of "Sheep" - it includes images of Tony Blair, Saddam Hussein and anonymous voters - but she added "I have no idea of the reason why Edward chose William Holman Hunt to illustrate his work".

I will briefly explain what I was trying to do. The first Holman Hunt painting is called "Strayed Sheep (Our English Coasts)", and although it may look like an idyllic English landscape at first it's actually a highly-charged symbolic account of the state of the nation. In an earlier painting, "The Hireling Shepherd", Hunt shows a brawny-looking shepherd making love to a peasant girl in the foreground, while in the background his flock goes untended. One of the sheep has found its way into a cornfield, and its head can just be seen poking up amongst the ripe corn. The painting can be read as an allegory of the irresponsibility of sensual self-indulgence; or of the Church's failure to tend to its flock; or of the political establishment's failure to look after the rank and file of society. "The Hireling Shepherd" was painted in 1851, and "Strayed Sheep", which is dated 1852, reworks the same theme. This time around, however, Hunt changes his target from society in general to England in particular by transferring his flock to an English-looking clifftop above the sea and (just to underline the point) subtitling the work "Our English Coasts". This time, furthermore, the sheep are not straying into a cornfield but teetering on the edge of a cliff; the shepherd is not distracted by earthly pleasures but missing altogether; and the most lost of all the sheep, instead of appearing as a background detail, poking its head up from a field of corn, has become the focal point of the picture, and is struggling chin-deep in a thicket of brambles.

The second Holman Hunt painting used in my piece is "The Scapegoat", painted in 1854, while Hunt was on a visit to Israel. The painting was inspired by the Talmudic tradition of driving a sacrificial white goat into the wilderness on the Day of Atonement, with all the sins of the tribe on its back. The goat is symbolic of Christ, a point which Hunt drives home by inscribing the frame of the painting with Biblical quotations: "Surely he hath borne our Griefs, and carried our Sorrows..." (Isaiah 53:4). The painting is daringly ugly and uncompromising for a religious work of the Victorian era: the goat is tottering in the front and centre of the picture, evidently on the point of collapse, with its tongue lolling between its teeth and its yellow eyes rolling upwards. Behind it is a desert spiky with the bones of previous victims and glossy with mirages: on the horizon, a line of brown-and-purple mountains, which seem to belong in a painting by Salvador Dali or Georgia O'Keefe.

At the time when I produced "Sheep", Britain was just about to have a general election. I suppose the simplest idea I wanted to express was that the British electorate was like a flock of sheep, powerless to make any real difference to the course of events. I was drawn to "Strayed Sheep" because to me it seemed to embody this sense of powerlessness and moral confusion. I was drawn to "The Scapegoat" because out of this powerlessness and moral confusion had arisen a situation (the war in Iraq) where we in the West had allowed ourselves to victimise another nation as a scapegoat for all the wrongs of our world. Hunt's paintings seemed appropriate to what I was trying to say, and the Middle Eastern setting of "The Scapegoat" seemed especially apposite.

On the other hand, although all these meanings seemed plain to me, what I perhaps didn't consider carefully enough was whether they would be equally plain to other observers, perhaps observers from other parts of the world, who might might be unfamiliar with English art, with the Pre-Raphaelites, and with Hunt's work in particular. In other words I may have been guilty of a bit of cultural arrogance. Furthermore I was relying very heavily on my own interpretation of the paintings, and there might be other people who were just as familiar with them, but who interpreted them in quite a different way. Since I put "Sheep" together, for example, I have become more conscious that "The Scapegoat" could be regarded as an anti-Semitic painting. After all, it wasn't the Jews who killed Jesus, it was the Romans: but to represent Jesus as a scapegoat, driven to death by the Israelites, is very much in line with the Christian tradition of blaming the Jews rather than the Romans for his crucifiction. If a viewer were to adopt this reading of "The Scapegoat", and carry it over to my piece about sheep, then he or she might come away with the idea that I was blaming the Jews rather than the USA for making a scapegoat out of Iraq, in the same way that Hunt is blaming the Jews rather than the Romans for making a scapegoat of Jesus: and this is something which I certainly didn't intend.

So this illustrates two of the dangers of incorporating other people's work into your own: firstly that your audience might not understand what you saw in it when you chose it; and secondly that they might find something else in it, which you overlooked yourself. And a third problem is this: that the other images I used in "Sheep" - Blair, Saddam Hussein, shoppers in a shopping mall and voters putting crosses onto voting papers - were comparatively simple to interpret. They were photographs discovered on the Internet, rather than complex works of art with highly-wrought symbolic meanings. So to my eye at least, looking at "Sheep" again now, there seems to be an imbalance between the "weight" of Holman Hunt's paintings, and the "weight" of these other photographic images.

One reason why "Triptych - The Lost Sheep", my second piece, strikes me as more solidly-built is because it doesn't have the same imbalance between its ingredients. As a matter of fact there are really only two ingredients in it: one is a picture which I discovered on the Web, showing a bony-looking lamb in a rough field (the image actually comes from a veterinary site and is entitled "Parasitic lamb"); and the other is a photograph of the sky, which I took from the upstairs window of my house. Partly because of its simplicity, I feel more thoroughly in control of the meanings of this piece. The images are ambiguous, but the ambiguity is of a poetic variety with which I feel comfortable. Has the lamb died and gone to heaven, or has it died and gone to nowhere? I don't want to over-analyse "Triptych", because it's only a slight piece, but it seems to work by suggesting a range of ideas about presence and absence, life and death, earth and sky, solidity and emptiness, materiality and spirituality, and so forth - plus the idea that death is a sort of getting-lost, both from the point of view of those left behind ("Where's that person gone?") and from the point of view of the one who dies ("Where am I going now?").

The third piece, "Don Quixote's Dream", is probably the least satisfactory of the three. It was an attempt to take the three-panel format and animate it. Regina's call for contributions to the "Don Quixotes and Sheep" project mentioned the eighteenth chapter of Cervantes' novel, in which Don Quixote attacks a flock of sheep, imagining them to be an army of pagans. This struck me as being an appropriate image for those of us who work in the New Media field: we imagine ourselves to be heroic figures, and we launch furious assaults on the sheep-like complacency and indifference of the general public, all to no avail. Hence the slant of the texts which I added to the work: "He dreams of battles with sheep", "He dreams his struggle is heroic", etc. It was only after I'd finished the piece and submitted it that I started to notice how irritatingly clocklike the transitions are from one image to the next in each of the three panels. It was also only at this stage that I realised Regina had been looking for a different slant on the subject: she actually defined the project as follows: "The general theme is a simple scream/question to 'sick Quixotes' and 'glutton Panzas': we are sheep??!!" In other words, while I was identifying myself with Don Quixote, the self-deluded loner, Regina was taking the side of the sheep, imagining Don Quixote as a madman (in the style of George Bush) who attacks innocent flocks because he has somehow managed to convince himself of their evil intent. I'd got hold of the wrong end of the stick.

Furthermore, wanting to experiment with the principle of borrowing/cloning images by other artists, which Regina was espousing in "The Big Sheep" blog, and also feeling that "Don Quixote's Dream" needed a larger array of sheep pictures than I could easily produce myself, I raided "The Big Sheep" for material, and it was only after the piece was complete that I began to wonder whether some of this material was really appropriate. Is Isabel Saij's spiky green robot-sheep, for example, really a fitting illustration for my idea of Don Quixote as a deluded artist-knight attacking a sheeplike public? Come to that, what about my own image of a sheep-silhouette full of sky? In the end, I was left with the feeling that my use of borrowed material had only served to dilute and muddle the idea on which "Don Quixote's Dream" was based, instead of augmenting it.

When "Don Quixote's Dream" was incorporated into "Quixotes and Sheep", however, all of its problems seemed to disappear, and I found this rather startling. The reason for this transformation, I eventually decided, that it was very difficult to pay "Quixotes and Sheep" the kind of detailed attention which would highlight the weaknesses of my own work - and in this, it seemed representative of a lot of big new media works.

I had better say immediately that I think "Quixotes and Sheep" is a wonderful and tremendously kinetic piece of design. Considering how many different artists have contributed to it, and how many distinct styles can be distinguished within it, one of its most striking characteristics is its visual unity. aLexandre Venera, who put the piece together, has managed to fit all the contributions into a single tightly-controlled format without sacrificing any of their individuality; and although the audio content of the piece is just as varied as the visual, he has done exactly the same thing with that. The sounds are randomised so that a given section of visual imagery will be accompanied by a different audio segment each time you visit it; yet whichever audio segment you end up with, it always seems to suit what you're looking at - a powerful piece of evidence in favour of those random juxtapositions so often used by new media artists.

It's only when you start to look at the different sections of imagery and text in terms of what they mean that the structure of the piece begins to creak. Babel's contribution seems to be at least partly about genetic engineeering - a hypodermic syringe touches a sheep, which rapidly multiplies itself into a small army of identical clones. aLexandre Venera's two contributions, on the other hand, both reference consumerism and international politics. One of them shows a lofty skyscraper with the ominous silhouettes of planes crossing in front of it; evidently a reference to 9/11; but instead an explosion or smoke billowing out of the building, we get the fluffy heads of sheep popping up all over it. A text alongside says "fashion sheep/quixotes' style train". Venera's second piece features sheep heads again, plus the MacDonalds logo, a picture of Che Guevara and the question "war against terror?" spelt out in big yellow letters. My own contribution, as I have said, is about new media artists and their audience. Genetic engineering; politics and consumerism; new media artists and their audience - how do these different themes dovetail together? The short answer is that they don't. They have simply been co-opted into a larger structure.

Most people who look at "Quixotes and Sheep" probably won't get as far as pondering the individual sections and trying to work out what their "messages" are, or whether these different messages harmonise with one another. And in a sense this is just as it should be, because "Quixotes and Sheep" doesn't particularly invite this type of attention. It does give you the option of looking at individual sections in detail if that's what you want to do, but the overall impression it makes on you is one of hurry and fragmentation. There's never just one thing on-screen at any given moment: instead, the available space is always divided into subsections, with different things happening simultaneously in different places. The contents of each subsection are always changing, and the layout of the screen keeps changing too. Bits of text appear, but disappear again before you get a proper chance to read them. The sound-track is fragmented in just the same way; loud one moment, silent the next; and you can't quite make out what the sounds are, although you can pick out details such as baaing and train-noises. All in all, you find yourself confronted by a host of signifiers, all jostling up against each other and demanding your attention at the same time. There's too much to take in. It's all happening too quickly. The end result is excitement and stimulation combined with a confusion of the senses and the mind.

The critic Harold Bloom once remarked that pre-Romantic art tends to spread its content more thinly and explain it more fully, whereas the tendency from the Romantics onwards has been to give us more and more signifiers with less and less explanation of what they mean. The reader or viewer is drawn into the post-Romantic work of art by a need to decode it. We are presented not with answers but with questions. With the advent of Modernism, things are taken a stage further: the images with which we are confronted are not merely puzzling and ambiguous but deliberately fragmented. We are required not simply to decode them, to produce answers to the questions they pose, but to undergo an experience of fragmentation ourselves, and to accept that some of the questions may be unanswerable. New media art, with its subdivisions of the screen, its combinations of image, text and audio, its randomness and its rapidity, takes things further still: it frequently presents us with more than we can possibly assimilate. It draws on the tradition of bricolage which comes from Modernism, but also on the tradition of sampling which comes from rap music - and as with sampling, it incorporates material from many sources at least partly because thanks to digital technology that material is now readily available and the means of incorporating it are available too. It presents that material to us in rapidly-changing combinations, again at least partly because digital technology makes that simple to do as well: you put your source materials into arrays, you randomise the arrays, you add a timer, and so forth. And the end result is something which feels right for our times. We are bewildered and overloaded by a work such as "Quixotes and Sheep" in just the same way that we are bewildered and overloaded by the ever-increasing wealth of information available on the Web or on our television screens. The messages of its individual sections are unimportant compared to the impact of the work as a whole. Its form is its message, and its message is hurry, fragmentation, overload.

I must admit that I do find myself, particularly when putting together work of my own, experiencing an anally-retentive desire to keep control of all the meanings of a piece. I also find myself drawn to work which is comparatively simple, small-scale and still - work which allows us to assimilate it at our own pace rather than experiencing it as a kind of deluge or onslaught. But I can't deny the power of a work like "Quixotes and Sheep", or that it captures something of what it feels like to live in the digital age.

Logo Copyleft / Copyleft Logo

Design do logo: Isabel Saij / Logo's Design: Isabel Saij



Português:

Qual é o uso para os logos?

FÁCIL:

Permitir a cada artista que participa do Projeto "Big Sheep" escolher uma das animações "logoleft" e colocá-la no seu website, perto do trabalho licenciado para a Arte livre.

Mais logos:

http://www.saij-copyleft.net/12-logolefts.html

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English:

What is the use for the logos?

EASY:

-To allow each artist who takes part in the "Project Big Sheep" to choose one animation in order to place it near the work under the Free Art license on their own websites. I

More logos at:

http://www.saij-copyleft.net/12-logolefts.html

Desfile de Ovelhas / Sheep's Parade

1- Português:

-História:

O Projeto Desfile de Ovelhas foi lançado em Março de 2005 através de uma divertida convocatória que anunciava o "Desfile das Ovelhas de Outono e Primavera", uma alusão às coleções de moda feminina que são lançadas a cada nova estação do ano. Isso porque o desfile estava de certa forma relacionado à nova série de resenhas colaborativas – “Ovelhas Verde Elétrico” - da newsletter do Museu do Essencial e do Além Disso- que analisaria a web.arte de três mulheres de três continentes. O título “Ovelhas Verde Elétrico” era uma referência ao trabalho da primeira das artistas analisadas - a francesa Isabel Saij e à Internet e ao seu verde elétrico. Mostrar essas mulheres / ovelhas maravilhosas que vêm se destacando pela participação ativa no ciberespaço e confirmar que a tecnologia também é um espaço da mulher hoje foi a nossa intenção nessa série de resenhas - 2005.

Dizia o convite para o Desfile de Ovelhas:
Envie a sua ovelha imagem, desenho, pintura, animação - vale qualquer tipo de ovelha: Dolly (voltando à clonagem...) branca, “fashion”, rosa choque, verde elétrico, o que você imaginar, até mesmo, a famosa ovelha negra será muito bem vinda!



A deadline das ovelhinhas será 15 de maio de 2005. Enviem quantas quiserem, queremos ver o Museu do Essencial e do Além Disso invadido por um rebanho de ovelhas !!!!!

Foram chegando as ovelhas em tom de brincadeira, o primeiro rebanho a chegar foi o colorido rebanho do artista brasileiro e carioca Paulo Villela, que mereceu comentário de Muriel Frega (Argentina): - Y las de Paulo son señoras en la peluquería, graciosísimas!



Logo em seguida ao feriado da Páscoa, mais brincadeiras e uma justificativa para o atraso do encerramento do Festival de Verão e Inverno:Ao contrário das cidades e museus virtuais que são encontrados na web, onde tudo sempre é perfeito, o espaço do Museu do Essencial e do Além Disso não funciona deste jeito, pelo contrário, seu funcionamento pretende atender sempre ao princípio da realidade. Por exemplo, o Festival de Verão e Inverno está terminando hoje, com um atraso de cerca de 15 dias! O motivo? Bem não é fácil administrar um museu deste tamanho mas ultimamente, como é do conhecimento de todos, ele está sendo invadido por rebanhos de ovelhas e no feriado da Páscoa elas conseguiram fugir de sua galeria e andaram se espalhando pelo museu. Foi difícil controlar e reconduzir ao seu próprio local tal quantidade de ovelhas, para vocês terem uma idéia, a "300º sheep" que Rob Myers (USA) nos enviou teimava em formar um halo ao redor do museu... Mas enfim, parece que tudo voltou a calma, eis aqui o Festival .

Mas de repente o desfile começou a mudar o tom, o primeiro indício dessa mudança foi “The Sacrificial Lamb” por Colino e Babel, que sabiamente, ironicamente e com bastante humor negro revelaram que todas as ovelhas têm um defeito. Logo depois Tamara Lai (Bélgica), enviou a sua ovelha, que na verdade era uma resposta ao “Altar” que eu construíra para o Projeto Sacrifier le Sacrifice sacrificing 2005 da própria Tamara Lai. Nesse "Altar" eu pergunto em tom de brincadeira:

- Quantos pixels eu sacrifico antes de terminar um trabalho de web.art? Esse é o ofício do web.artista ou é um sacrifício?

A imagem enviada por Tamara Lai mostra a imagem de uma pequena e inocente ovelhinha sendo retirada da tela de um computador para ser sacrificada - devorada (?) pelo web.artista (?), bem talvez seja muito mais do que isso.... o texto que acompanha o trabalho contrasta terrivelmente com a imagem inocente...

Então Isabel Saij enviou a sua seríssima e política coleção de ovelhas que foi analisada detalhadamente na primeira resenha colaborativa. Nessa resenha também está o comentário feito ao rebanho de Edward Picot (UK), o qual também toca em graves questões políticas. O que começara como brincadeira tornou-se algo bastante sério... Ao ponto de Louise Desrenards (França) comentar nas listas nettime-fr -raw e nettime-fr:

"Lorsque Regina depuis le Brésil a lancé l'appel de mai pour le défilé des moutons "Sheep's Parade", n'était-elle pas visionnaire du mouton noir et du mouton du Non socialiste, mais aussi du Non européen, car le mouton d'autrepart est devenu celui du Non divers de la gauche et pour dire l'appel que nous soyons les plus nombreux possibles ? C'est le mouvement de Mai 2005 !"

É que a ovelha negra havia se tornado na França uma espécie de símbolo para o NÃO da esquerda no referendo - para um tratado constitucional para a Europa - em 29 de maio de 2005...

Bem, depois disso tudo, não há como interromper esse triunfante desfile de ovelhas que cresceu tanto e adquiriu funções tão diversas daquelas que haviam sido propostas no seu lançamento.

Nossos agradecimentos a todos os artistas que dele participaram em sua primeira edição, contribuindo para o seu sucesso:

ALEXANDRE VENERA – ANGELICA CHIO - ASTRÉA EL-JAICK & RAYMUNDO AMADO GONÇALVES - CARLOS RAMIREZ - COLINO / BABEL - CRISTINA ORENSZTAJN - DANIELLE RICCIARDI - DÉA JUNQUEIRA - EDWARD PICOT - FRED FOREST - ISABEL ARANDA - YTO - ISABEL SAIJ – JOÃO PEDRO - JOESÉR ALVAREZ - JUDSON PLASMA STUDII - LIA BELART - LISA HUTTON - LOUISE DESRENARDS - MIGUEL JIMENEZ - MURIEL FREGA - PAULO VILLELA – PAULO VILLELA & REGINA PINTO - REGINA CÉLIA PINTO - ROB MYERS - TAMARA LAI

Sei que gostarão de saber que o projeto continua com o “Desfile de Ovelhas II - a Grande Ovelha.”

2- O Novo Projeto

O que é a “Grande Ovelha” ?

Ela é uma proposta de clonagem feita por Isabel Saij e Regina Célia Pinto (Autoras do projeto). A cada 15 dias estarei comentando dois dos rebanhos / ovelhas do primeiro projeto e ao mesmo tempo misturando o “DNA” dos dois visualmente. Também um clone / imagem desses rebanhos / ovelhas estará disponível nesse blog para ser copiado, misturado e alterado a vontade, por quem quiser. Essa ovelha ou rebanho mutante deverá ser enviado para arteonline@arteonline.arq.br. No final das misturas e clonagens as ovelhas mutantes formarão a “Grande Ovelha”, que será exibida permanentemente na Galeria Clonagem e WEB do Museu do Essencial e do Além Disso.

Com esse projeto estaremos dando força à Arte Livre:

Com a licença da Arte Livre, você está autorizado a copiar, distribuir e transformar livremente a obra de arte, sempre respeitando os direitos do criador.

Longe de ignorar os direitos do autor, esta licença os reconhece e protege, reformulando os seus princípios, tornando possível ao público o uso criativo das obras de arte. Enquanto os atuais direitos de propriedade literária e artística resultam na restrição do acesso público às obras de arte, o mérito da licença da Arte Livre é encorajar este acesso.

A intensão é fazer com que a obra se torne acessível e permitir o uso de seus recursos para o maior número de pessoas: para usá-la com o fim de aumentar o seu uso, para criar novas condições de criação para multiplicar as possibilidades de criação, respeitando os criadores com o reconhecimento e defesa de seus direitos morais.

De fato, com a chegada da era digital e a invenção da Internet e do Software Livre, surgiu uma nova visão sobre criação e produção. Esta licença também encoraja a continuação do processo de experimentação utilizado por muitos artistas contemporâneos.

Conhecimento e criatividade são recursos, que para serem realmente autênticos, devem permanecer livres, atividades básicas de investigação que não necessariamente estão relacionadas com aplicações concretas. Criar significa descobrir o desconhecido, inventar a realidade sem dar atenção ao realismo. Desta forma, o objeto (ou objetivo) da arte não é a obra de arte terminada e definida.

Esse é o principal objetivo da licença da Arte Livre: promover e proteger a prática artística das regras da economia de mercado."

Muito mais em:

Português: http://artlibre.org/licence.php/lalbr.html
Espanhol: http://artlibre.org/licence.php/lales.html

A edição final da “Grande Ovelha” será registrada no site da Arte Livre (http://artlibre.org/) para que possa ser usada indefinidamente, por quem quiser, desde que sejam sempre respeitados os direitos dos criadores.

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2- English

-Background

The Project Sheep’s Parade was launched in March 2005 through a funny call which announced the “Fall and Spring Sheep’s Parade", an allusion to the collections of feminine fashion that are lauched to each new season. That because the parade was related to the new series of collaborative reviews – “Electric Green Sheep” – a Museum of the Essential and Beyond That's 2005 activity which would analyse the web.art done by three women from three different regions of the Earth: France, USA and Chile. The title “Electric Green Sheep” was a reference to the work of the first artist analysed - the french artist Isabel Saij and to Internet and its electric green. To show those wonderful women / sheep that come standing out by the active participation in cyberspace and to confirm that technology also is a woman’s space nowadays is our intention with these review series – 2005.

The first invitation to Shep’s Parade was funny: Send your sheep image, drawing, painting, photo, animation – any kind of sheep: Dolly ( coming back to cloning...), white, fashion, shock pink, electric green, what sheep you imagine, even the famous black sheep will be welcome!

The sheeps deadline will be May 15 th 2005. Send how many sheeps you want, we are looking forward to see the Museum of the Essential and Beyond That invaded by a sheep flocks !!!!!

The sheep were arriving, at first funny sheep the first flock to arrive was the colorful flock of the Brazilian and carioca artist Paulo Villela, which deserved a comment by Muriel Frega (Argentina): “- Y las de Paulo son señoras en la peluquería, graciosísimas!” ( Paulo Villela’s sheep are madams at the hair - dresser, amusing!)

After the Easter holiday, more jokes and an excuse for the delay of the Summer's and Winter Festival closing: "Everything is always perfect in the virtual cities or museums found on the Internet, but the Museum's space does not work that way. Instead, its operations aim at fulfilling the dictates of the principle of reality. For example, the Summer's and Winter Festival is finishing today, with a delay of about 15 days! The reason? Well it is not easy to manage a museum of this size but lately, as you certainly know, the museum is being invaded by sheep flocks (http://arteonline.arq.br/sheep ), and during the Easter's holiday the sheep ran away from their gallery and spreading theirselves by all the museum. It was difficult to control and to place to their own location such sheep's' quantity, for you have an idea, the "300 º sheep" that Rob Myers sent us insisted on form a halo around the museum... But finally, it seems that everything came back to calm, then you have here the complete Festival (http://arteonline.arq.br, go down by the scrollbar until the link or go direct to http://arteonline.arq.br/festival ):.

But suddenly the parade started to change the tone, the first sign of this change was “The Sacrificial Lamb” by Colino and Babel, that revealed in a wise and ironical way and with lots of black humor that all sheep have a defect. Just after Tamara Lai (Bélgica), sent us her sheep, which was an answer to the “Altar” I built to her Project Sacrifier le Sacrifice sacrificing 2005. In this "Altar" I ask in a funny way:

- How many pixels I sacrifice before finish a web.art work? Is this the web.artist craft or a sacrifice?

The image sent by Tamara Lai shows the image of an innocent little lamb being retreat from a computer screen in order to be sacrificed – devoured (?) by the web.artist (?), well maybe it is much more than this ... in fact the text that accompanies the work contrasts terribly with the innocent image.

Then Isabel Saij sent her serious and political sheep collection that was analysed in details in the first collaborative review 2005. In that review also was anlysed the flock done by Edward Picot (UK), which also burrow in serious political subjects. So the sheep’s parade that had started as a joke became something much more serious… And then Louise Desrenards (France) sent a comment to the lists nettime-fr -raw and nettime-fr:

“Lorsque Regina depuis le Brésil a lancé l'appel de mai pour le défilé desmoutons "Sheep’s Parade", n'était-elle pas visionnaire du mouton noir et du mouton du Nonsocialiste, mais aussi du Non européen, car le mouton d'autrepart est devenu celui du Non divers de la gauche et pour dire l'appel quenous soyons les plus nombreux possibles ? C'est le mouvement de Mai 2005 !"

It is just because the black sheep has become in France a kind of symbol to the “left” NO in the countersign - for a constitutional treaty for Europe - on May 29th 2005... so that, Sheep's Parade became a historical parade.

Well, after all of this, there is not how to interrupt that sheep’s triumphant parade, which grew so much and acquired such different functions from those that have been proposed in our release.

My most graceful thanks to all the artists that have participated in the first edition, contributing to its success:

ALEXANDRE VENERA – ANGELICA CHIO - ASTRÉA EL-JAICK & RAYMUNDO AMADO GONÇALVES - CARLOS RAMIREZ - COLINO / BABEL - CRISTINA ORENSZTAJN - DANIELLE RICCIARDI - DÉA JUNQUEIRA - EDWARD PICOT - FRED FOREST - ISABEL ARANDA - YTO - ISABEL SAIJ – JOÃO PEDRO - JOESÉR ALVAREZ - JUDSON PLASMA STUDII - LIA BELART - LISA HUTTON - LOUISE DESRENARDS - MIGUEL JIMENEZ - MURIEL FREGA - PAULO VILLELA – PAULO VILLELA & REGINA PINTO - REGINA CÉLIA PINTO - ROB MYERS - TAMARA LAI

I am sure that you would like to know that the project continues, now it is called “Sheep’s Parade II - the Big Sheep.”

- The New Project

What is the “Big Sheep” ?

It is a proposal of cloning done by Isabel Saij and Regina Célia Pinto (The Project's Authors) . Every 15 days we will be commenting two of the first project flocks / sheep and at the same time mixing their “DNA” visually. Also a image / clone of them will be available on this “blog” to be copied and changed for who want and wish to participate of the Big