Post symbolic communication that I mention in the previous post is a phenomenon that probably won’t even exist for another 100 years, as some kind of futuristic time warped post internet reality. But what is post-internet in terms of the contemporary? Marisa Olsen coined the term post-internet to explain this phenomenon. Louis Doulas states in his essay Within Post-Internet that it “represents the digitization and decentralization of all contemporary art via the intent as well as the abandonment of all new media specifies. Post Internet then is not a category but a condition: a contemporary art.” This can either mean that contemporary art must be solely computer/internet based, or the Internet and digital media must influence it. (1) The result of this is, as Artie Vierkant explains in his essay The Image Object Post-Internet, “…ubiquitous authorship, development of attention as currency, the collapse of physical space in a networked culture, and the infinite reproducibility and mutability of digital materials.” (2) Meme’s for example, anonymous posts with appropriated images are juxtaposed with text, is a kind of post internet art. There are multiple anonymous authors, and each meme can be appropriated with a new line of text or new image. What is interesting about a meme is that it is almost impossible to trace the root of a meme. What we must understand here is that each appropriate should be just as valued as its original. Meme’s still are abundant with character, and the complex interplay between image and text is a character formed by a human mind, no matter how anonymous the post is.
This reminds me of the game Nyan Cat for the iPad. Nyan cat is a game that you could say was created by the public on an international level. It started out with a video game in Japan that enables people to make music using pre-made vocal and synth samples. Someone made a song with this program and uploaded it to the Japanese youtube. Then, someone else saw this song and made a video for it- the video being a cat made out of poptarts with a rainbow coming out of its behind. Finally, this was made into a game for the iPad where the player was the same cat; the music was the same song, except they had to collect food for points, etc. Nyan Cat has become so famous that now people are making meme’s out if it, fan art, internet art, and other viral remixes that are being consumed by the internet. Things move back and forth between countries all the time, and it is amazing that art is now one of those things. It can now truly be a communal experience where people can “remix” art posted on the internet and spit it back out into the digital world for someone else to interpret, all the while each version still being an original copy. There is now an enormous online global community of appropriated, original or anonymous works of art, allowing for basically anything. But now the question is, out of all of these appropriated, remixed images, gifs, movies etc, which ones will make a dent in history and will be appreciated as good art?
A cool exhibition I saw at STADIUM that was a part of bcc, a single-night art event.
“Bcc,” an acronym for “blind carbon copy,” is an exhibition format originated in April 2011 in Berlin by Aurélia Defrance, Julie Grosche and Aude Pariset, in which all materials exhibited must be digitally transferred and received. As there have been recent, major shifts in how we exchange information, oft using abbreviated modes of communication, Bcc seeks to reflect this sentiment in medium and message. (3)
The interesting thing about bcc which I find extremely relevant when talking about post-internet art is the fact that these exhibitions are put together through an online database which holds a collection of artists works who submit them electronically. Just as many of us visit websites like contemporaryartdaily.com and virtually look at shows, judging them through their mere presence on a screen, the curators of bcc do the same. They interpret the arts physical form through a digital screen and organize them into an exhibition as they see fit. The internet is the only means through which the curators and artists interact and is a direct commentary on the immediate nature of communication and consumption in our contemporary digitized world. Below are a few examples of the works on display at the exhibition bcc#7 at STADIUM.
(1) Within Post-Internet Part 1 by Louis Doulas
(2) The Image Object Post-Internet by Artie Vierkant