٠ Artie Vierkant: the artist as technologist ٠

vierkant_rgbicon© Artie Vierkant, RGB Icon, 2010. C-print on MD.

vierkant_possibleobjects_gr5© Artie Vierkant, Objects that are louder when placed on other objects, placed on other objects (Possible Object), 2012.

“being Post-Internet” is a distinction which carries ramifications beyond the art context as a societal condition at large, and that it would be antithetical to attempt to pinpoint any discrete moment at which the Post-Internet period begins. Any cultural production which has been influenced by a network ideology falls under the rubric of Post-Internet. The term is therefore not discretely tied to a certain event, though it could be argued that the bulk of the cultural shifts described herein come with the introduction of privately-run commercial Internet service providers and the availability of personal computers. text by Artie Vierkant

vierkant_copy1© Artie Vierkant, Copy (histogram sculptures), 2011. Styrofoam, histogram curves from video stills, autoexposure, user interface overlay, color digital fingerprint.

Even if an image or object is able to be traced back to a source, the substance (substance in the sense of both its materiality and its importance) of the source object can no longer be regarded as inherently greater than any of its copies. When I take a moving image and represent it through an object (video rendered sculpturally in styrofoam for example), I am positing an alternative method of representation without ever supplying a way to view the source. A source video exists. The idea of a source video exists. But the way the object is instantiated denies both the necessity of an original and adherence to the representational norms that follow the creation of “video” as both technical device and terminology. text by Artie Vierkant

vierkant_possibleobjects_gr5© Artie Vierkant, Objects that are louder when placed on other objects, placed on other objects (Possible Object), 2012.

The possibilities for these transformations, alternative methods of viewing “media” which essentially amounts to an arbitrary assemblage of data, has thus far been most thoroughly examined in the field of “information aesthetics,” a field as distanced from Post-Internet art as it is close to design, cartography, and indexing. Its fault is in its attempt to encapsulate large amounts of data—practical information, experience—into an aesthetic and understandable shorthand. In other words, information aesthetics provides in one object both a representation and the components which make up its source in an attempt to illustrate or arrive at knowledge. While Conceptualism as outlined by Kosuth may be limiting in its reliance on art propositions as enclosed tautological systems, its foundations—delineating progressive art with the same zeal Greenberg applied to ascribing modernism its “purity”7—hold true: “art’s viability is not connected to the presentation of visual (or other) kinds of experience.”8 For us to receive a piece of art and determine from it some piece of empirical information about the world at large would seem almost a bewildering proposition, even in a cultural climate where we have accepted that the singular qualification for the moniker “art” is the intention of any one individual to label it as such. text by Artie Vierkant

artie-vierkant-color-rendition-chart-thursday-28-march-2013-244pm© Artie Vierkant, Color Rendition Chart Thursday 28 March 2013. UV prints on sintra.

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