"There is a certain beauty in trying to fulfill the potential of the obsolete. As we have become a culture that is defined by the latest and greatest, and at the same time built in obsoleteness. Why are we in such a hurry to progress when we haven't realized the potential of what we have, where is this thing called progress taking us?"
This anxious quandary, posed by artist Mike Beradino, elucidates the concept behind his use of outmoded technologies. The New York-based artist has created several works that reflect upon the rapid consumption of technology, where a piece of software or hardware is embraced one moment and tossed out the very next. His lo-fi, 8X18 LED grid pieces, Liquid Pixels (2007) and blinken (2007), for example, employ the spirit of DIY, tinkering and the open source movement as a foil to an increasingly dense technological mediation within and throughout daily life. Liquid Pixels uses the LED display to create morphing patterns of ferrofluid, while blinken narrates a perverse, LED animation of a character free falling from a roof as clocks spin out of control. Beradino was inspired to create these LED pieces by the techno-primitive genre of "flashing/sparkling/blinking" art known as "Blinken" which, in 2001, emerged out of the German hacker community, Chaos Computer Club, who continue to remain active today via the BlinkenArea portal. The BlinkenArea hackers have developed a Blinken-centric operating system (BlinkOS), their own programming language (ARCADEmini Assembler), software for Blinken programs and animations, and a far-reaching manifesto for its role in "world domination," which includes an entertaining set of bullet points for achieving said domination. This auto-obsolescence as practiced by Beradino and the Blinken hackers may employ tongue-in-cheek rhetoric, but it could also be seen as an increasingly viable strategy of dissidence ...
Image: Earth from Space, Apollo 17, 1972
After hearing rumors concerning the existence of secret NASA photographs of the Earth as seen from outer space, the writer and future digital-utopianist Stewart Brand fought to have these images released to the public. The hope behind Brand's 1966 campaign was that these "blue marble" photographs of the whole Earth would for the first time tangibly allow the planet to appear small, conceptually graspable and very much alone in the wilderness of space. Forty years later, the London-based new media artists, Thomson & Craighead, created the video Flat Earth (2007), a visualization of Earth that refers to a different perceptual moment.
Image: Thomson & Craighead, Flat Earth, 2007
Commissioned for Animate Projects in 2007, their project is not an unveiling of the spheric, "blue marble" image of the Earth as viewed from outer space but, rather, an attempt to describe the "flat" Earth as viewed from the membrane of the Internet. Blog entries and flickr photos interact with freely available satellite imagery to give a re-shaped conception of what space and distances between people effectively means in a networked world. The video begins in the tract housing of the American suburbs where we hear a performance of an actual blog entry from the angsty, young dancer, "teenangel." A few seconds later, we zoom into the sky above San Francisco as the bemused "patriot2000" informs us that he just read a translation of one of his blog posts into German and he's now curious to learn German. We travel across the globe to Zimbabwe, Iran, and Europe. It's a great seven minutes and it gets at something amazing about the Internet: if, according to Walter Benjamin, the technologies at the beginning of the 20th century allowed for perceptual reproduction to "keep pace with ...
That's always going to be part of the experience.
The whole idea of immateriality is fishy--be it in the context of Jogging or anything else.
I went overboard on the rhetoric for sure, but the point I'm trying to make is basically the same as yours, Brian, and Jacob, too, I think.
This work is getting somewhere, but the terms its being framed in--immateriality and economic freedom--are tripping it up, shifting the conversation too much in a direction that get tangled in semantics and theoretical navel-gazing.
I wanted to give examples of how sticky that road becomes.
Like, do you guys really want to spend your time debating this material/immaterial stuff?
What's interesting about it is something different, something fresher.