The forthcoming introduction of generic top-level domains (gTLDs)—which will replace the .com or .net suffix with specific words or terms, such as .food, .movies, or .microsoft—poses new speculative opportunities as dizzying as those of Zola’s 19th-century Paris.
On Reed’s website (subheaded “Probably one of the coolest guys ever,” by the way), alongside the bio, blog, flickr stream (don’t be surprised there isn’t an Instagram feed, the man’s not mainstream), and blog, there is also a “books” section. Apparently, for the past ten years, Reed documents all the good books he read. And he reads a lot, “without rhyme or reason,” according to him. No one would be amazed to discover that The Catcher in the Rye, Herman Hesse’s Siddharta, or Wittgenstein’s Tractatus Logico-Philosophicus made the list. Asimov and Arthur C. Clarke are even more obvious. But John Medina’s "Brain Rules" series—Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School and Brain Rules for Baby: How to Raise a Smart and Happy Child from Zero to Five—may catch you a little off guard. And Ayn Rand’s Fountainhead, Atlas Shrugged, and The Virtue of Selfishness are even more of a surprise.
Tauba Auerbach, RGB Colorspace Atlas. (2011)
I once heard Leon Botstein, the President of Bard College, compare books to stairs. “They’ve invented the elevator,” he said, “but sometimes you still walk up.” There are countless discussions on the future of the book—they are picked up in magazine feature articles, in trade conferences, and in academic roundtables—and in all of these, the future of the printed word seems certain: in a generation or two, print will become obsolete. In this age of changing habits, if print is the stairs and screens the elevator, then what could the escalator be?
This moment in time, and the awareness of the possibilities electronic publishing grant, affect the manner in which we relate to texts in a way that is under constant scrutiny. But images prove to be a different problem. The separation between text and images has a long history. In fact, images have posed a challenge for publishers from the early days of print—be it the cost of printing them; the payments for illustrators, photographers, and designers; or simply contextualizing the images and their relation to the text—but they have become crucial to our understanding of texts. When the Illustrated London News, the world’s first illustrated weekly newspaper, began publishing in 1842, the relationship between the text and the engraved images in the paper was such a novelty that it took the weekly about a decade to stake a hold in that era’s news distribution channels. Once it did, it became one of the most widely circulated newspapers in Victorian Britain. The marriage of text and the engraved image marked a new level of fluency in communication via images, which does away with staples of early print day, even though the separation between image and text lasted for many decades later, and can still be traced today. (Think, for example, of the plate pages, where color images were glued onto the paper, so that the book or magazine would be printed in black and white, adding the color pages later in a way that saves money on printing, but also generates a wholly different relationship with images. These are often associated with encyclopedias, but a large number of artist’s monographs retained this design even after color printing became widely accessible, creating the odd text-image relationship where an artwork is described to the most minute detail, with a comment in parenthesis directing the reader to “color plate 3,” where the mentioned piece could be seen in glossy print.)
The generations to come of age in the days of digital publishing and reading on screens have a much more complicated relationship with images. The human eye-brain system is capable of reading a large number of high quality images in a matter of split seconds, and this, alongside the hand-eye coordination—think about the pleasure of a touch screen versus inky newspaper pages—is rapidly developing to mirror our changing habits of consuming information. So much so that the contemporary heightened sensitivity to the way we read images can lead to an ability to, at times, ignore the quality of the images when inserted into a text, the way our brain glides over a typo in the flow of reading. The way we read images online is only one thing these magazines deal with in the process of publishing, but it is surely an element that dictates a large portion of the reading experience of these publications.
Your works bring together many strands of visual culture. Your paintings, for example, interpose art history, design, the natural world, and gaming. What does your image research look like? In a recent piece for Rhizome, Karen Archey wrote that your sensitivity is emblematic of the internet age, where all images are created equal. Do you think your work is affected by this characteristic of the internet? Does it mirror it?
Yes, I think my work mirrors this characteristic of the internet age, which also is reflected in and conditions my research process.
This conditioning applies not only to images but to information in general, I treat the two as the same. This flattening of values allows me to make art historical and sociological connections that scholars wouldn't necessarily consider making. However, I don't view my research process as a new thing relevant only to the internet age.
I'm also interested in comparing the idea of wandering through images and informations on the web to Walter Benjamin's idea of the flâneur and his experience of modernity. The term describes the experience of leisurely walking through urban space while observing various aesthetic and sociological patterns in the XIXth century Paris.
Recently I came across an article by Evgeny Morozov called "The Death of the Cyberflâneur," adressing this same parallel with Benjamin's flâneur and explaining how the cyberflâneur would disappear for similar reasons as those of the XIXth century flâneur—the internet becoming more and more enclosed in the world of social media, shopping activities, or separated apps. Benjamin also explains how the flânerie got caught in being conditioned by the economy and the market when the recently born commercial strategies of that time started using the flâneur and his casual attitude as a marketing tool. Benjamin notices ...
I think the meaning of this article is in the conflation of Artsy and e-flux, but nevermind that. Here's the real point: I have no actual interest in criticizing e-flux for its decision to apply to run the gTLD. I'd be happy to do that if they actually win it, and once they start charting out what they'll do with it. In the meantime, my only goal in this piece is to point to some problematics and interests in these two discussions on URLs, branding, art, and money.
About democracy and the internet community: well, first of all, I'm totally unconvinced that some weird democratic taxonomy is the best we can come up with. And in the case of e-flux, I think their time/bank project is an interesting precursor to what may happen with .art. I thought the time/bank had a great chance of being successful because e-flux had a built-in community of people who are interested in alternative economies around it. Instead it's circulating as an artwork and continuous project that is more of an experiment than a real entity. Who knows if .art (which attracted attention via that same e-flux community) won't be the same.
Flux Factory is seeking proposals from game designers, technical wizards, emcees, performers, set designers, house bands, and all manner of mischief makers! We need your help to create iSpy, a live reality show meets stage show spectacle meets video game that combines game design and theater with the topsy-turvy power of networked cameras in public spaces.
The experience will revolve around players carrying networked cameras in public space, beaming images back to the gallery-turned-theater as they compete to finish absurd challenges with the audience’s help (e.g.: corralling strangers to swing at pinatas, in-store scavenger hunts, and impromptu games of Balderdash on the street). The Flux theater will be rigged with cameras and surprises too, turning everyone into unwitting players.
As an interactive and theatrical game experience, this project is not limited to the gallery. The production of iSpy will be highly collaborative, with all invited creators helping to form events open to the public during the last two weekends of April 2012. We need collaborators to make mini-games, elaborate scoreboards, 70’s game show-style sets, spectacular lighting design, and surprising interactions, and we need house bands, emcees, actors, technical crew, facilitators, and much more to make it happen.