Monday, June 03, 2013

From "The Circulation Desk"

Excerpts from The Circulation Desk, a forever-work-in-progress:

"We're not into making things mean something so that some cultural analyst can interpret our work for us. That's too narrowly focused."

"We would rather just let our work live, out there, say, on the Net, and let it circulate freely, a kind of becoming-transmission."

"It's more about how the movement of aesthetic forms creates a mobile net aesthetic which produces a vibrant social texture to get lost in."

"The idea of circulation, of intervening in the transmission process, is related to the field of distribution as an aesthetic form."

"It's not about - 'if we build it, they will interpret us' [and then we will monetize it] - it has more to with us moving in social space."

"We're playing with the archive in an ahistorical or transhistorical style, not academic or even theoretical per se, but as speculative samplers falling in and out of undulating ensembles of remixologists performing in auto-affect mode."

"It's strange - we track the co-poietic unfolding of network distributed aesthetics as a kind of embodied praxis. The idea is to resist the defeatist retreat back into the ready-to-be-psychoanalyzed 'self' per se while seeding new forms and tempos of living itself."

"We study ephemeral forms the way a painter might draw or do a quick napkin study that then leads to a large-scale painting or sculptural object. For instance, we'll challenge ourselves to embody a rhythm in a fast-moving game environment just to see what it feels like to create and satisfy needs based off that team's particular game design aesthetic, and then we'll take that rhythm and try to superimpose it on something completely distinct from it, like reading a dense theory book during our 'free time.'"

"When we scroll through a city and make unconscious links with the terrain as if becoming 21st century psychogeographers, we'll simultaneously begin re-mapping our aesthetic trajectories -- so that circulating in a neighborhood becomes our version of a performance art project focused on duration and the ability to intersubjectively relate with the denizens of the micro-culture we're immersing ourselves in. You could say that our art cannot be located in the objects that we construct and that contain our potential legacy if only historians and critics and curators and collectors could unlock the secret meaning stored within . . . in fact, our art is really more like Duchamp's register of the 'anartist' -- the not-artist -- and yet there's still no getting away from aesthetics, from the desire to assemble systems of circulation and internetworked communication and distribution that layer our experience with something well beyond meaning. It's much more textural and could be better described by words like 'disgusting,' 'stimulating,' or "optimum flavor profile.'"

"Another way of putting this would be, 'Experiencing the ecstasy of transmission is an intuitive process that, when informed by the edges of an applied aesthetics, can turn into realtime reality hacking."

Keywords: circulation, style, net art, transmission, psychogeography, aesthetic forms, against interpretation


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