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Lorna Mills and Sally McKay
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Newsflash! Sometimes artists use text!
Alpha Beta Data:
WOOT. WOOT.
BOOYAH.
But the good news here is that we don't write the shit ourselves. That would be so fucking dire.
(I offer this blog as proof)
And as well, as much as I love the relentless formality in other works, I also love the cheap rough trade in images that Cheryl Sourkes works with.
from 'Homecammer-messages' - Cheryl Sourkes
For the past six years Cheryl has been collecting messages that people display on their personal webcams, The results make for a history of the phenomenon and a chance to consider a peculiar bridge from the virtual world to the real world full of all the stuff we want or need.
"People often observe that webcams are instruments of Big Brother, but from my experience surveillance plays a much smaller role in the world of webcams than one might imagine. Ordinary people establish most webcams. They’re a way for them to disseminate things they care about to the world at large – themselves, their family members, their homes, their evangelical messages, whatever. One can watch friends chatting, sexual display, the view from a window, an old person in a nursing home, a dog and her pups, etc., etc. - content that stands outside mainstream political and/or commercial interests."
From Alpha Beta Data
The Three Critiques of Immanuel Kant - Michael Maranda
two volumes of hand bound books
"In this project, I have taken the three critiques of Immanuel Kant (The Critique of Pure Reason, The Critique of Practical Reason, and The Critique of Judgment, in the 'standard' English translations) and collectively analyzed them. Volume 1 of this project consists of all the letters used in the three texts, arranged in alphabetical order. Volume 2 consists of all the punctuation and the numerals used in the three texts, in this case laid out on the page as they appear in the original texts."The economy of his description doesn't prepare you for the surprises within the work, and sometimes a description provides an inoculation from the real thing. A lot of Michael's art work deals with canonical works of western thought, using a subtle and sometimes freakish means of translation into the visual. (there's less of a gulf between our respective book art practises than is first apparent, but I'm an easier sell to an audience, since I flatten out the official cannon by giving it equal time with my middle-brow, low-brow, juvenilia & genre filled inventory from a promiscuous reading habit. Or translated into a fundamentalist p.o.v.: my intellectual sluttiness dirties everything I touch) Michael takes on a tougher problem that involves acknowledging a hierarchy in the universe of reading, and arguing with the structure of this medium that fills our thoughts, and even according to some, defines what a thought is supposed to be or how a thought will be manifested. (a philosophical problem that long ago bled into current thinking about A.I.)
Volume 1, pictured above, with it's orderly arrangement of letters, type-set to look compressed within generous margins on each page, is obsessive and claustrophobic. On Friday night, at the opening, even the very thoughtful and patient Simon Glass admitted to me that he was unable to put Kant back together again. (the adjective, patient, applies here, because I always ask Simon inane questions whenever I see him, and he always answers them - thoughtfully: "No Lorna, I don't think I can put the Critique of Pure Reason back together for you")
The formatting for Volume 1 almost led me to dismiss the work because I am very lazy, but Volume 1's oppressiveness is a set up. Volume 2 (not pictured - go see the show) is absolutely breathtaking and unexpected.
It's ridiculously beautiful.
All the left-over punctuation, that now punctuates nothing but empty space, floats on all the pages like arabesques or musical notation. Maranda has used a slightly similar device in a previous work titled "Wittgenstein’s Corrections". In that piece, by using a source that reproduces Wittgenstein's handwriting, he retains the numbering system and the corrections, but leaves out the actual propositions from Tractatus Logico Philosophicus. (perhaps originally sourced from a copy of a galley-proof, but don't bother correcting me if I'm wrong)
From Yam Lau's essay on that work:
In the preface to the Tractatus Logico Philosophicus, Wittgenstein stated that the “whole sense of the book might be summed up in the following words: what can be said at all can be said clearly, and what we cannot talk about we must pass into silence.” Thus the aim of the Tractatus is to draw a limit to the expressions of thought, which lies within language.