In many ways Cory Arcangel's solo show, on view now at the Whitney Museum of American Art, is about the failure of art and technology. This isn't to say the show is a failure; far from it in fact. Instead it's the way in which Arcangel's work frustrates the expectation that art, particularly art that engages with technology, somehow demonstrate a kind of expertise that justifies its elevation to the status of art. If the purpose of technology, broadly speaking, lies in its use-value, then it is his decided refusal of the kind of productive functionality that one expects from technical objects that makes many of the pieces on view so frustrating. Equally frustrated is the desire for an artfully crafted object expressing a unique critical vision. Instead Arcangel offers us objects that have been hacked and broken, that refuse or distort our interaction, or whose simplicity, effortlessness, nostalgia, and humor mask complex socio-technical systems. As Ed Halter noted in an interview with the artist for Rhizome in 2008, Arcangel's work seems to operate in two extremes:
You either introduce a ridiculously enormous and therefore pointless amount of work into it, or you reduce the work by using automation, or defaults, or outsourcing. So you either extend the amount of work to an enormous extent that makes it absurd, or you reduce it to nothing which undercuts its legitimacy.
Arcangel exerts incredible effort to accomplish the most banal of tasks, or produces aesthetic works that require little if any effort to manufacture — on the part of the artist, at least. In this way the works reflect on the process by which both art and technology are produced, and the means through which we ascribe value to artistic and technological objects.
In a fundamental sense, technology is deeply non-human. While we might apply a humanist logic to the function and workings of technological systems, and view technological objects as extensions of the human body and its capacity for adaptive prosthesis, the very purpose of technology is to be that which the human is not or to achieve that which the human could not otherwise do. As such, technology exists beyond the humanist understanding of the individual, the body, and the subject, particularly in contemporary network culture in which technology is in part transformed from concrete and material objects into molecular, adaptive, and often invisible systems. Much as with the animal world, technology seems to suggest a mode of communication and media beyond that of human language, a mode of being or becoming that exceeds our own.
In Insect Media (University of Minnesota Press, 2010),1 Jussi Parikka traces an archaeology of non-human media. More specifically, he is interested in the relationship between animal and machine, and the unique history of the insect as a technological model from the late 19th century through to the present. While insects are often viewed as models for contemporary media practices such as swarming, smart mobs, and collaborative forms of production, Parikka makes insects the object of his media historical project, transforming "media as insects," into "insects as media."
R-U-In?S is a project initiated by artist Kari Altmann in 2009 as a call for collaboration and participation in a new form of critical visual practice. Concerned with a set of future-driven, embodied, and often commercial aesthetics, the project has evolved from a tumblr feed to a network of multiple sites, artists, and identities. Below, Jacob Gaboury interviews Kari Altmann in collaboration with Sam Hancocks of Visual AIDS on just what R-U-In?S is and what it has become.
JG: How would you describe the vision of R-U-In?S?
Ultra-red is an activist art group founded in 1994. The group proposes an alternate model for art and activism, one in which it is not the artist's critical intervention that serves as the source of cultural action, but rather that art might contribute to and challenge the process of collective organization and relationship building itself.
It could be argued that template-style exploitable memes are the bread-and-butter of image board communities like those found on 4chan. Taking a popular, strange, or funny image and editing it down to the simplest components allows them to be photoshopped into a variety of contexts. It's easy and allows for a wide range of iterations, many of which gesture back to previous memes to construct intricate networks of reference that require elaborate explanations and complex genealogies to decipher. Some of the most popular template memes come from 4chan's Cartoons and Comics board /co/, and usually involve stripping a drawn image to it's most basic outlines so that it can be adapted to various popular cartoon or comic characters. Popular examples include Optimized Gif Dude (2006), Gentlemen (2006), fsjal (2008), and X Everywhere (2010).
[The Original Image]
Handsome Face is a image that first appeared in mid-September of 2010 on /co/ and was quickly made a template by 4chan user Shore Leave !!T2UdrWkLSWB. This original image is taken from a scene from the 2010 animated film Superman/Batman: Apocalypse. The face was generally regarded as "handsome" in a way that seemed comical and overly sincere, as though he were about to say something heartfelt to another character. Soon it was coupled with the text template "X, I . . ." where X is a character, concept, or object that could be humorously paired with the original. An iteration using the Joker might be captioned "Batman, I . . .", or one made to look like Shaggy from the group Insane Clown Posse might be captioned "Magnets, I . . ." in reference to the much-parodied ICP music video Miracles (2009).
The meme points to the complex network of reference that makes up the template format, as well as the call-and-response solicitation that helps to propagate ...