Image Pattern Gratification (2013), by Shannon Ebner
black/white, copy, imagery, language, orthography, printWednesday, May 8th, 2013
We call on all cultural workers to put down their tools and cease to make, distribute, sell, exhibit, or discuss their work from Janury 1st 1990 to January 1st 1993. We call for all galleries, museums, agencies, ‘alternative’ spaces, periodicals, theatres, art schools &c., to cease all operations for the same period.
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Brooklyn, New York, April 2008. A row of street stalls in front of graffiti-covered iron gates. Tables full of merchandise: Louis Vuitton handbags and wallets, with their familiar “LV” monograms; brown and beige; white with multicolor fruit-like designs. You can find them for sale on Canal Street in New York, in the night markets of Hong Kong and Singapore or the covered market in Mexico City, and in many other places around the world where the urban poor go to shop—”LV” articles piled up alongside the Patek Philippe watches, Chanel perfume, North Face jackets, and Adidas shoes. Copies, fakes, counterfeits; cheap, poorly made reproductions . . . or are they?
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Remix, at the beginning of the twenty-first century, informs the development of material reality dependent on the constant recyclability of material with the implementation of mechanical reproduction.
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This work is a sustained examination of the automaton as early modern machine, and curious ancestor of the twentieth-century robot, who slaves away at the assembly line of being, sustaining the most precious fantasies of our humanity, while entertaining us with nightmares of the treachery of others.
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The theory of lock picking is the theory of exploiting mechanical defects. There are a few basic concepts and definitions but the bulk of the material consists of tricks for opening locks with particular defects or characteristics.
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GIVEN the total colonisation of daily life by Capital, we are forced to speak the received language of the media. It has always been impossible to give coherent expression to thoughts and practices which oppose the dominant ideology. However, we do not seek the creation of new languages. Such an act is doomed to failure and plays into Capital’s hands (by reinforcing the myths of ‘originality’ and Individual creativity’). Rather, we aim to re-invent the language of those who would control us.
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“The digital revolution is over.” (Nicholas Negroponte, 1998) Over the past decade, the Internet has helped spawn a new movement in digital music. It is not academically based, and for the most part the com- posers involved are self-taught. Music journalists occupy themselves inventing names for it, and some have already taken root: glitch, microwave, DSP, sinecore, and microscopic music.
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During the first decade of the twenty-first century, sampling is practiced in new media culture when any software users including creative industry professionals as well as average consumers apply cut/copy & paste in diverse software applications; for professionals this could mean 3-D modeling software [...] and for average persons it could mean Microsoft Word, often used to write texts like this one. Cut/copy & paste which is, in essence, a common form of sampling, is a vital new media feature in the development of Remix.
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The first issue of originalcopy is embedded in the series of events In der Kubatur des Kabinetts [In the Cube of the Cabinet], which its operators create as time-based space “for artistic forms of practice beyond the economic imperative”. The performative presentation form of the works shown at the the Fluc at Praterstern in Vienna reflects the circumstances of existence of the club, music and art bar, whose premises are constantly shaped by situative reorganisation and changing users. For one evening, originalcopy | fluc am praterstern refers to the character of the art club In der Kubatur des Kabinets, with the various methods of repeating and copying being tested for their quality with regard to the appropriation of space. originalcopy | fluc am praterstern is the beginning of a research into the various models of original copies and their diverse possibilities in the context of contemporary artistic, media and social conditions.
With original copies by
Francis Alÿs, Sean Dockray, Constant Dullaart, Michael Kargl, Egor Kraft, TRAUMAWIEN / Brian Laroche – Oslo, Kristina Wilson / The Art of Google Books
Location and date
Fluc am Praterstern 5, Vienna / Austria
August 29, 2012, from 7 p.m.
For Constant Dullaart digital media are not just means of transport for content and facts but first and foremost the subject of his media-analytical artistic strategy. In DVD Screensaver Performance, conceived as a series, one sees the artist in various places, such as in the Joshua Tree desert, in his living room or in the Museum of Applied Art in Vienna. He is holding a bunch of differently coloured oval signs with the DVD logo in his hand, which for several minutes he moves diagonally from one edge of the screen to the other. As soon as the logo touches the edge of the respective video display the artist changes the card and so changes the colour. If a playback machine does not contain a storage medium or is in stand-by mode, the movements right across the screen, which the DVD logo carries out in a standardised way, are imitated by Constant Dullaart and reconstructed using analogue means. DVD Screensaver Performance is about an attempt to push a technological procedure that is little noticed in everyday life into the field of view and to demonstrate both the performative potential of technological arrangements as well as their standard design.
On the screen, viewers see Constant Dullaart. The artist is lying on the floor: spread out in front of him are eight circular elements that he again has arranged into a larger circle and which are in the middle of the picture on the video. Dullaart pushes each of the individual elements a bit further in a clockwise direction and in this way sets the big circle in motion. YouTube on the Floor is about the symbol that shows YouTube users the waiting time until the video they have clicked is completely downloaded. With the analogue animation that reconstructs an object from the net in real space, the artist explores the performative potential of one of the most popular video platforms. Constant Dullaart researches the multifaceted language of contemporary images that are circulating on the Internet and their recontextualisation as “found footage” in their own medium. The artist examines their widespread and often unquestioned use as well as the internationally disseminated and standardised appearance of manipulated screen surfaces in order to research their influence on social behaviour.
The most distributed image ever is being phased out. What remains is a hill in Sonoma Valley, California.
Charles O’Rear used to pass that hill almost daily between his home in Napa and his wife, Daphne, who lived in Marin County. He always carried his medium format camera.
It was hard even to slow down on highway 12/121. But one day, it must have been in January, he pulled over. After about a month of rain the sun comes up, and there is beautiful green grass. The weather during the winter can change dramatically. A break in the storm. Intense blue sky with cumulus clouds. Maybe later that day it rained.
Blue was an important brand color already in ’95. Clouds and sky being a common theme in many aspects of the product’s identity and collateral. Illustrating potential and opportunity.
Continuing the cloud theme, but with added grounding. The horizon gives a sense of scale to the image. Makes it possible to imagine being there.
Because of the danger of that road and where he was standing, he didn’t take a tripod. His camera, when handheld, needed to be shot at least at a five-hundredth of a second. Whatever that translates into on a sunny day. Probably 500 at 5.6.
With property prices in Sonoma reaching $75,000 per acre for bare land, most hills were being developed into vineyards or homes. On this hill grapevines had been planted. But in the early 90’s a Phylloxera bug infested the grapes and made them unusable. The entire vineyard had to be pulled out. For a few years the hill was covered with grass. Green at the time of the photograph.
Green was the second main color in the branding scheme and in the User Interface. Running late in the product development cycle. Looking for a nature shot. “The reality of real life”. The image matched the brand colors. It fell completely into place, in terms of sky, clouds, blue plus the green field.
By the time the image was purchased, grapes had been planted again on the hill in Sonoma Valley.
Once upon a time there was an original. It was finished at the end of the 19th century by the academic painter Jean-Jacques Henner. Fabiola, the portrait of a woman with a fixed gaze to the left and a red veil is thought to have long been lost. And nevertheless, the painting and the figure it portrays still live. For more than 15 years the Belgian artist Francis Alÿs has been collecting Fabiola reproductions that he finds in flea markets and which continuously crop up in private attics. His art collection has meanwhile grown to 412 copies. They are mostly anonymous works in which the authors, sometimes with bravura, sometimes amateurishly and clumsily, attempt to reconstruct the original painting and to make a copy of an original that no longer exists. With his Fabiola collection, Francis Alÿs negotiates the continued life of an object that originally escaped from the field of art back into everyday popular culture and takes the same object back into the field of art as an idea and recollection of an object. In the long run the existence of the copy here seems to be going beyond the existence of the original.
In his sculptures and objects Michael Kargl frequently works with simple measurement parameters that he makes available to the observers as possible instruments for the reading and interpretation of the respective production context. In table, the right-angled object covered with mirrors, it is a case of a sculpture that orients itself on the interior architecture of the Fluc music club at the Praterstern in Vienna and which challenges the interpretative powers of the observers. Based on the constantly changing design of the premises, the artist positions the piece of furniture, whose volume has been copied, close to the original object. Quite casually, through the shine of its surface, the copy dissolves in the reflection of the context. The object could be a pedestal whose function is to present objects of art, but it could also be a place for visitors to the clubs to sit; table could just as well represent a waste product of a previous exhibition or a new work that it still in the production process. In any case it is an object whose form arises from a reference cycle of existing spatial parameters and whose ultimate function is only inferred from its – again temporally limited – use.
Google Books calls mistakes that crop up in the scanning and copying of books “unexpected peculiarities”. With The Art of Google Books Kristina Wilson takes this phenomenon and collects reproductions that display these peculiarities. Thus on the scanned pages, for example, one can see the hands of the staff who are overseeing the copying process or the movement of the pages that are being turned over. Other scans show marginal notes that have been scribbled as comments on the edge of the page. The fact that the books have been used is also indicated by library stamps, which, with information such as “For use in library only”, grotesquely contradict the idea of Google. In The Art of Google Books Kristina Wilson shows a selection of defective digitalisations and makes them available online as her personal art collection. “The aim of this project is twofold,” she writes on her website: “To recognize book digitization as rephotography, and to value the signs of use that accompany digitized texts as worthy of documentation and study.” In this way the artist questions the quality of digitalised books as well as the “knowledge of the world” that is saved in the books, which is apparently being made freely available and accessible by the global information broker and monopolist Google.
In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun.
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When TRAUMAWIEN publishes a book, there are standardised details such as the author, date of publication, number of pages, type of binding and information on the language the book is published in. The last of these, however, differs from the usual publisher’s information. Instead of the reference to a natural language one fined details such as Generative Text, IMDB, Feeds, Symbol Language, Cut Up, Skypelog, Logfile, Blogengine, Code Poetry or Keylogger. “We publish digital[ly] born stories”, it says on the TRAUMAWIEN website. “Our range not only includes networked texts, algorithmic texts, interfictions, chatlogs, youtube and twitter streetslangs, codeworks, software art and visual mashup prose. We also research possible touch points between the book as an object and virtual space.” The authors of TRAUMAWIEN use various software as the basis for artistic forms of expression of digital literature. Not only are specific features of the digital system analysed and checked for their aesthetic potential, but the technical-processual background and its codes are also highlighted, as a result of which programming language acquires a new – literary – meaning.
“Aaaaarg.org is a conversation platform – at different times it performs as a school, or a reading group, or a journal,” writes Sean Dockray about the online library he founded, which offers numerous philosophical, media, political and art-theory texts as free downloads. “Aaaaarg.org was created with the intention of developing critical discourse outside of an institutional framework. But rather than thinking of it like a new building, imagine scaffolding that attaches onto existing buildings and creates new architectures between them.” In his essay The Scan and the Export (published in the magazine Fillip, 12/2010) Sean Dockray analyses the ambiguity and the transience of a medium in which the reproduced and reproducible texts circulate on the platform and beyond: “The scan is an ambivalent image. It oscillates back and forth: between a physical page and a digital file, between one reader and another, between an economy of objects and an economy of data. Scans are failures in terms of quality, neither as ‘readable’ as the original book nor the inevitable ebook, always containing too much visual information or too little.”
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One of the ways in which the Conceptual project in art has been most successful is in claiming new territory for practice. It’s a tendency that’s been almost too successful: today it seems that most of the work in the international art system positions itself as Conceptual to some degree, yielding the “Conceptual painter,” the “DJ and Conceptual artist,” or the “Conceptual web artist.” Let’s put aside the question of what makes a work Conceptual, recognizing, with some resignation, that the term can only gesture toward a thirty year-old historical moment. But it can’t be rejected entirely, as it has an evident charge for artists working today, even if they aren’t necessarily invested in the concerns of the classical moment, which included linguistics, analytic philosophy, and a pursuit of formal dematerialization. What does seem to hold true for today’s normative Conceptualism is that the project remains, in the words of Art and Language, “radically incomplete”: it does not necessarily stand against objects or painting, or for language as art; it does not need to stand against retinal art; it does not stand for anything certain, instead privileging framing and context, and constantly renegotiating its relationship to its audience.
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