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spamzineglasgow · 4 years

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(REVIEW) ternura / tenderness by Sarah Sophie Yanni

In this review, Alice Hill-Woods traces the poetics of multiplicity, intimacy, vibrant materiality and energy in Sarah Sophia Yanni’s new chapbook, ternura / tenderness (Bottlecap Press 2019).

[[ CW: body dysmorphia, eating disorders ]]

> The first page of Sarah Sophia Yanni’s chapbook, ternura / tenderness, published by Bottlecap Press and nesting twenty-three poems, swings open on its hinges, revealing an interior soaked with sensual murmurings. Linen, grease, matted fabric and pastel hues constellate in a saturated portrait of a room. It feels safe to observe and enter, akin to visiting the home of an unfamiliar relative who welcomes you regardless of your emotional proximity. In her artist statement on her website, Yanni explains that ‘a culturally liminal place is most familiar, orbiting the things that are lost in shift’ (date unknown). Indeed, her chapbook reveals a subtle interplay between detailed places pulsating in time, and sketched memories, fluttering with bodily energy, changing form under her agile signature. At points breathless, lacking caesura (‘freshman year’), her poems are also breathy, seductive, playing with space and form (‘home / body’). It is a poetic voice engendered by a gaze that emerges hungry to record minutiae, which are then generously shared with the reader, compiling a vivid smorgasbord of experiences.

> From the outset, I am already aware of the protean potential of translation: ternura is tenderness; tenderness ternura: but in which moments do these language-bound paradigms overlap? How can we trace the difference lost in the shape of mouthing different syllables? Do notions of tenderness shift according to the language in which they are contained and received? Yanni’s chapbook is tender: fabric folds oscillating against skin are soft, redolent of warm glimpses, a heart open to the nature of things. But there is more than tenderness, too: an ache, perhaps, or a harder glare carving its presence into rosier backdrops. The speaker admits: ‘there are certain words | I can’t translate – guey, pedo, me cay bien– | but I know how they feel in my mouth, in yours’ (Yanni 2019: 27). This exploration of linguistic limitations operates with the very tenderness the chapbook’s title lays claim to, considerate and delicate in a way that simultaneously signals strength.

> I particularly relish the astrological assertiveness of Yanni’s poems. In the Roman-numeral-spliced ‘multiplicity’, the speaker states: ‘V. I am a gemini / the reason for my multiplicity / | or at least my primary excuse’ (2019: 4). It brings to mind one of Yanni’s #MicroMeta poems for Metatron Press, which pouts in pastel blue on Instagram:

it’s because I’m a gemini sorry I yelled and sorry I cried about nothing except that it wasn’t about nothing and really, I’m not sorry

(Yanni 2019).

Yanni’s girlish, starry brevity entices users such as girlhowdy69, who declares: ‘these made me tear up’ (Instagram 2019). Being a Gemini signifies more than multiplicity, though, and regardless of your approach to astrological musings it cannot be ignored that Yanni’s writing embodies the mercurial wit and dual energy implied by this zodiac sign. Yanni is half-Egyptian and half-Mexican, and I can defend the notion that her vibrant poiesis has twice the impact, double the deliciousness.

> Materiality is a significant element of ternura / tenderness. Not only do some fabrics indicate lived-in places, but bodies; what it means to touch, to know. It brings to mind Jane Bennett’s Vibrant Matter, in which she argues for the ‘capacity of things […] to act as quasi agents or forces with trajectories, propensities, or tendencies of their own’ (2010: viii). Different fabrics are endowed with this kind of activating energy. In ‘I know the room in abuela’s house’, meaning is embedded in the shape of ‘curling wallpaper punctured by a golden crucifix’ (Yanni 2019: 2), walls distorted by age and faith, ‘sticky rain’ (ibid.: 7) in ‘why isn’t there an option for mixed race kids’, ‘wet pools / opaque | fabric clinging’ (ibid.: 4) in ‘multiplicity’, rolled and hemmed material in ‘pleated uniform skirt’. The semiotic tapestry is stretched out on to the textual frame for hermeneutic rubbings, like pushing a hand into those dark, velvet boxes in a museum play area, hungry to associate mental image with physical object. This close attention to materials, informing one another, dialogically positioned in alignment with Yanni’s varying narratives, makes for seductive reading.

> Site-specific worship blurs into the lust for home-space, the contingent sequences of what is homely melting into the transcendent. Glimpses of rituals rolling wavelike into ordinary spaces reminds me of Lila Matsumoto’s Urn & Drum (2018). Yanni’s ‘In / Between (ii)’ paints an image of ‘baskets of warm bread, tiny plates of chopped | tomatoes’ (2019: 8) alongside a ‘church that echoes’ (ibid.), reminiscent of Matsumoto’s ‘Morning’, in which the speaker orients themselves towards the sensory dew of the kitchen; ‘pinching | the plates between pinky and thumb I dip them one by one | into the water which undulates with fresh promise’ (Matsumoto 2018: 23). Kitchens, then, may be interpreted as sites inscribed with the potency of interlocking communities waiting to share words or food. In ‘In / Between (iv)’, the speaker demands recognition for this sacred space: ‘of course, I’d | reply, what could be safer than Abuela’s | kitchen’ (Yanni 2019: 20). The semantic circling back to Abuela across the textured landscape of the chapbook is indicative of this character’s weighty presence, an enabler of tender exchange.

> Yanni’s formal technique treats text with a controlled awareness; in many of her poems, stanzas are portioned out, resisting gluttonous reading. This consistency appears to be an extension of the speaker’s experience of a suggested eating disorder. For example, in ‘multiplicity’, the speaker confesses:

for two summers I let myself rot / a raw throat coated with slime / anemic faint purple flesh (2019: 4)

The forward slash – oblique, repetitive, leaning into the next breath – is paradoxically simple and multivalent. It feels era-specific, reminding me of glossy pamphlets of song lyrics inhabiting CD cases in the early 2000s. It is also textually divisive, a knife slicing into lines that have already been broken off by enjambment, and, although subtle, her use of punctuation feels deliberate, pregnant with feeling. In the same stroke, the poems quietly interrogate discourse around consumption. Whose gaze is the girlish body-form configured to? The speaker presents the body as a site of restraint upon which violence is performed, corporeally exhibiting ‘a doctor’s delight’ (Yanni 2019: 4) and ‘the thrill of smallness overlapped | with fainting in public’ (ibid.: 18). Flesh-and-memory-laden erasure is mourned, her poem ‘yesterday’s desires’ a complex eulogy for time tainted by dysmorphia. Although grief is not a domineering element of Yanni’s chapbook, it may still be considered part of tenderness’s symbolic vacillations. To look back on a body warped by illness takes courage, an inspection softened by gentle awareness.

> Orchestrating an impasto collection of emotive and tonal shifts, from softly spoken to defiant, it is clear to me that Yanni’s poetic presence is waxing, a glimmering orb amongst other contemporary constellations. Reading one moreish poem catalyses an urgent desire for the next, a clever domino effect that interlinks subjective schemas with well-articulated energy. Finally, I must confess: the Gemini in me stretches towards the Gemini in the text, and, for a moment, I can feel the familiar closing-in between speaker and reader that can only occur with such tender momentum.

References:

Bennett, Jane. 2010. Vibrant Matter (Durham: Duke University Press)

Marchigiano, Ariana. [@girlhowdy69]. January 2019. ‘these made me tear up’ [Instagram comment]

Matsumoto, Lila. 2018. ‘Morning’, in Urn & Drum (Bristol: Shearsman Books), p. 23

Yanni, Sarah Sophia. 2019. ternura / tenderness (Bottlecap Press)

Yanni, Sarah Sophia. 24 January 2019. ‘it’s because I’m a gemini!’, Metatron Press @metatronpress [Instagram post]

Yanni, Sarah Sophia. Date unknown. ‘artist statement’, <https://sarahsophiayanni.com/writing/writing/> [accessed 20 October 2019]

ternura / tenderness is out now and available via Bottlecap Press.

Text: Alice Hill-Woods

Image: Bottlecap Press

Published 17/11/19

#review #reviews #Alice Hill-Woods #ternura / tenderness #Sara Sophia Yanni #Sarah Sophia Yanni #poetry #poem review

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letithappeneverafter · 6 years

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Australian psych-rockers Tame Impala, the mind-spawn of one Kevin Parker, have gone from being an obscure college radio gem reserved for first-movers to becoming somewhat of a millennial-version of The Greatful Dead - about as much of a household name as their particular brand of psychedelic soundgasms allows for. “People talk about this psychedelic “scene”. I don’t know who we overlap with. I don’t know who else there is. At this point in our career, if you’re a dude that’s in to like psych rock, I think it’s fair to say you’ll know about Tame Impala,” says Parker. Last night, the allure of Tame Impala’s audiovisual orgies of confetti, smoke, tie-dyed laser-light, and sedating waves of psych drew a sold-out crowd of ball-trippers and sober dudes with their girlfriends alike to Copenhagen's Falconer Salen. A few TI-acolytes given away by their long hair, vacant gazes and assortment of band T-shirts matched with holey, red Chucks were already perched outside of the glass entrance six or seven hours before the show, when we arrived to catch up with 30-year-old Parker in a back room. Kevin drifts in a half hour or so later than expected, and opens the fridge, only to find it stacked with Tuborg. “I was really just looking for some water,” he says, explaining that it’s still too early for pre-show drinking to begin, for tactical reasons. NOISEY: Hey Kevin! How are you, man? Kevin Parker: Good, good. I love Copenhagen, been waiting for so long to get back here. We just found the same spot we were at last time. Really, where at? We don’t really even know where we are, but it’s kind of around the middle. Like around the LEGO shop and stuff. So we got to go by the LEGO shop which was cool. Found a couple of bars as well. When we’re touring, we just wake up and we’re there. Where’s a good place to go? The Meat-Packing District maybe. Or perhaps Christiania is more your speed. Also, it’s Fashion Week. Well, we’re big in the fashion world. So, you just got announced for Roskilde Festival here as well, which is like a huge deal in our neck of the woods. Oh, did we? Sweet! I know, right? Private concert at a venue vs. festivals – what do you prefer? These days I love playing our own shows, just ‘cause we’ve got more stuff. More confetti, all of our lights - it’s our own thing. It’s the most like, full-on headie experience, you know? But a festival’s just as cool. Sometimes it’s like afternoon, you know, and you’re playing as the sun goes down. Yeah, you’re going to like Roskilde. So you recently dropped a new album, Currents. What do you personally notice most about the changes in your music, just since Lonerism? It’s all the result of it just being one mind. One person’s perspectives change all of the time. And so like if all of the things that make up the music are coming from one mind, the music is free to wander. The other thing is, when its lots of different perspectives coming together, if one of them changes, it doesn’t mean the others will. Making music in a group is about compromise. So you control every aspect of Tame Impala's sound. But you've told our Australian brethren you're not a perfectionist, as such. If there were lots of other people involved and I was controlling everything, then I would say I was a control freak. It’s more just about creativity. Like if the song needs drums, then I’ll do the drums. The elements and vision that I have make up what Tame Impala is.

What do you think your fans get from your shows? Like, if you were a 17-year old Kevin Parker, and you, in this alternate universe, were going to see Tame Impala, what would that look like? I’m not sure of how much of an event it is for people. I don’t whether they’re just like 'Oh cool, Tame Impala are playing, let’s go check it out' you know, like [have] two drinks - or if they just get completely turnt. I would probably be by myself, because I used to go to shows by myself all the time. I mean, we used to go to shows and smoke weed and all of that. Obviously I’m not going to recommend that someone does drugs… Do people do drugs at your concerts? I wouldn’t know, you’d have to ask them. I’ve certainly seen a few people get carried out. That happens quite a bit. I think reading that fucking Noisey article about people on drugs at our show was the most insight I’d gotten to people at our gig. Obviously it was biased; they went for people that were just absolutely tripping balls. But they were there. It made sense. I mean, there’s definitely a lot of things we do to stimulate the mind. The kind of mind that could potentially be on drugs. Speaking of stimulation, I've been hooked on the riff in “Less I Know the Better” since the first time I heard it. So I have to ask: Did you know right away that it was the one? Thanks, man. Yeah, I think it was literally the first thing I played. I just remember sitting alone in my home studio, a little studio, because I was between houses, and making the demo of the song in about half an hour. Like I had the chords and the melody and I was just thinking, “It needs a gnarly bass riff.” The way that I know I’ve done a new riff that is cool, is if my hands don’t want to do it. If you let your hands do the thinking, it will just be the same old shit. But yeah, that bass riff – it’s actually a guitar with an octave pedal – but that very take is the one that’s used in the whole song. So what about life outside music? What does a standard day of chillin’ look like for you? I like to watch cartoons if there’s nothing else to do. Nowadays, if I have any kind of creative motivation, it’s probably going to be directed towards Tame Impala. Like, it’s slowly just become my life. But so much of what we do involves waiting. I think we’re professionals at sitting around and talking shit to pass the time. We’re pretty good at just sitting in a room. And talking absolute bullshit. Nice. Well on that note, if you could play your way into the face of death at one historical event – like those epic string quartet dudes on the Titanic – what would it be? How about…the plague in Egypt. (laughs) What’s one of those apocalypse movies? The Day After Tomorrow? Yeah, War of the Worlds, something like that, that would be pretty sick. Would you be playing “Let It Happen”? We have a song called “Apocalypse Dreams” but that’s just too obvious. We’ll play the album in its entirety. It would be an honor.

https://noisey.vice.com/da/article/r3n37w/we-talked-riffs-drugs-and-absolute-bullshit-with-tame-impalas-kevin-parker, Feb 4, 2016

Interview by Alfred Maddox. Photo by Sarah Buthmann.

#tame impala #kevin parker #currents #noisey #vice magazine #copenhagen #denmark press

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laurarosser · 6 years

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What is the post-digital era? Notes from the Post Digital Print Conference, Wroclaw.

Paul Laidler (UWE) Paper.

At the 2017 Post Digital Printmaking conference, Paul Laidler who is a Senior Research Fellow at the Centre for Fine Print Research, talked about looking through the eyes of machines as humans in terms of digital print. Identifying the post-digital era as one where we are not in the position to offer conclusions, more so we are proposing questions. The post digital age marks a period of rapidly changing technology and opportunity.

Artists are increasingly asking machinery to do things that it wasn’t intended to do. Such as Jack Youngblood’s manipulation of inkjet printers and overlaying prints in ‘Spate’ (2003) and Richard Hamilton creating impasto inkjets prints, creating a 2.5D industrial and technical process.

Arthur Buxton employs mobile technology in ‘Colourstories’ (2014 to date) a free web-based app that lets users create colour swatches and individual colour pallets from their own personal photos. When users upload photographs to the website a unique pallet is created which tells a story and is a personal history in colour. One additional important element that should not be overlooked in Buxton’s ‘Colourstories’ is that it encourages users to make use of digital images that often just sit as data or bytes on a hard drive.

What is the position of analogue artworks in the digital, or post-digital era and how do they support one another? The questions about the digital should not be, what can we do? And should be, why are we doing this?

Labour is an important consideration for print based practitioners and post digital printmakers perhaps have a heightened awareness of time/duration and the immediacy offered by a digital relationship. We are amidst a culture of instant gratification, with print on demand and instant production. However, certain things cannot be reduced to binary, which is where post digital print is located. Some artists embrace the slow movement, such as Estella Molina’s work where she combines digital print with photogravure and labour is critical to the intent. In contrast, the work ‘Coded’ (?) by Ruth Irvine tested immediacy and applied algorithmic language to physical activities.

Laidler described these post digital artisans as being ‘digitally mindful’. He talked of digital natives who were born in the 1990’s who were born amidst a digital revolution. Digital natives are not being taught by digital natives, yet. What is the implication of this is?

Lastly, Laidler outlined a key concern that resonates with me, in that the post digital conversation is not about how we technically master these tools that is critical/significant, rather it is the consequences of how these tools penetrate and reshape the way we think about making work.

Pawel Puzio (Wroclaw)

Pawel Puzio from Wroclaw Academy of Fine Art is interested in the digital glitch and researching the field of malfunction-based. Digital media is the medium Puzio elects as his channel for expression, a method of communication or data exchange. There are specific medium traits in traditional media, such as screen printed halftone marks or a soft drypoint line or analogue photographic grain. I don’t believe that new digital media reveals the same distinct characteristics. Puzio referred to ‘transparency’ as a term often used in reference to digital media, referencing how the media becomes transparent. As in CGI models in the cinema and HD television with high resolution and bright/vivid colours creating ‘hyper-reality’. We cannot experience the detail and intensity of colour in real life. Similarly are medium specific traits considered as artefacts?

Puzio defined a need to mediate without mediation. He proposed that the digital medium is failing at becoming ‘transparent’, because of digital malfunctions, noise, glitch and errors. Glitch art is a field that has been well documented and explored by Mark Nunes, et al(?).

Puzio discussed: Rosa Menkman ‘DCT:Syhoning’ (?) and ‘Mytopia’ (2015), both digital works that experience virtual reality; Mattiew St. Pierre’s ‘Melted ice cream’ and ‘Post Forward’ are created from corrupted digital files; Matthew Pumner Fernandez used corrupted files to make 3D models; Peter Nory employs incorrect and glitch google earth maps; Pawel Puzio himself produces works using data corruption techniques which he demonstrated at the conference; The method could be compared to an algorithm, a set of procedures that he has tested and uses to produce glitch or error art, for example, following measured steps by moving between sound and bitmap files to corrupt the image. Finding and replacing characters in the code.

Puzio demonstrated two tutorials on how to make glitch art.

In notepad (You can see the language and the code).The below steps will all corrupt the image:- choose 2 characters to find and replace. delete sections of the code.Copy part of the code and paste elsewhere.

In odacity. Upload a bitmap file as dataPlay as a sound biteAdd effect: base, echo, etc.Export back to a bitmap file - image will be distorted from original source.

Note: Also see Saunders, G., & Miles, R. (date?) Printmaking in the 21st Century http://www.vam.ac.uk/content/articles/p/prints-21st-century/

Karen Oremus (Zayed Univerity, UAE)

Karen has a spiritual/scientific interest in her work. And focus on digital corruptions.

The vicissitudes of printmaking practice in the post digital era.

‘New technologies are the new media of the redefined multiple, creating multiple meanings of the multiple’

There are infinite digital editions (see photograph in Evernote), consider YouTube, Dropbox, Yahoo, Facebook, PayPal, tumbler, et al.

A fixed multiple has given way to a more flexible multiple. With more temporal notions of the matrix and the edition influenced by Deleuze’s ‘Difference and Repetition’ (1968).

(Different words for the multiple: numerous, repetition, various, different, assorted, multiform. All of which hint towards individuality).

The print departments at Auburn and Zayed universities collaborated virtually in an online project, creating an infinite edition.

Works produced by Karens students included:

Rust prints on the beach(this would work well for stage one) Bury metallic objects (that rust) in the sand. Lay canvas or paper onto of them. Dig them up two weeks later.

2. Ayesha Hadir: shadow prints projections and shadows from objects

3. Shaikha Fahed: Photo shoot inspired wood cuts starting point is the photo shoot. Takes the images into intaglio and woodcut. Creating printed installations, with lights and shadows projected onto the woodcuts.

Katarzyna Zimma (Lodz University of technology)

Edge Effects: printmaking as an inter-medium

Katarzyna Zimma approaches her practice from a traditional print perspective. She uses the structures of permaculture as a design strategy, ‘use edges and value the marginal’ (Bill Mollison, 1978).

Zimma references edge effects in terms of the ecosystem, specifically coastal boundaries of water and land.

Dick Higgins created the ‘Intermedia chart’ (1995) to demonstrate the concept of intermedia and the relationship with Fluxus, which operated in the space between media. Considering the ‘in-between’ the ‘inter‘, Higgins’s diagram highlights boundaries between areas. In what way is post digital printmaking defined as inter-medium? Zimma discussed this concept in relation to the work of Sarah Jane Lawton, whose practice is transdisciplinary, with centrality being the engagement and contribution of others. Lawton presented a paper at Impact9 and seeks out a social practice. ‘She situates her practice on the margins of disciplines and works with models of engagement to reach individuals and communities.’ (Artists own website)

Within my social practice, would the planning of events to create unknown errors be better understood if I highlight the crossed (often overlapping) areas between: participant, artists and error?

Zatarzyna Zimna’s video work ‘Layers’ (2013) becomes an additional record of the process to accompany the work.

‘Colouring Book’ (at Impact9) invited viewers to colour in the white spaces of the black and white prints. The print became a field of exchange, between artist and audience.

‘Memo Game’ is a participatory game playing artwork, consisting of tiles engraved and linocut prints.

(see Evernote slide photographs) “I seek out the social contact that ‘material engagement’ can inspire through printmaking and once my tool-kits have been applied to the workshop settings, they confront one person with another, offering as Basting explains, a gift of real-time moment.” (Sarah Jane Lawton, Printmaking as a model of engagement, IMPACT9, China Academy of Art Press, Hangzhou, 2015, 0. 72-82)

’A print in the post-print age or the post-digital age, is actually often the same print as before, but saturated with different content’.

“…it can be said that printmaking in the post digital age should make more if its own resources - its inner dichtimonies and unlimited potential to create boundary zones with other media and life - in order to continually Renew.”

original | copy

high | popular

change | repetition

absence | presence

tradition | innovation

Martin Surzycki (Wroclaw, Poland)

‘The architecture of printing matrix’

Surzycki talked about the sculptural qualities of the printing matrix in relating his heavily embossed prints. He identifies that there is a degree of uncertainty in the matrix, because of the way he makes his plates/images.

The substrate, the paper, is an important element, explaining it is not anonymous.

Michelle Mirilo (California College of the Arts, San Fransisco)

‘Shifting identities: at the intersection of printmaking and technology’

The breadth of contemporary print is wide and interdisciplinary. Contemporary tools are being used to conceive contemporary ideas. On the other hand, DIY and make it yourself culture is prominent in art practices. Michelle had a residency ay Bullseye Glass where she experiented with powder printing (screen printing on glass). Her exhibition ‘A measure of time’ demonstrated Michelles archival practice, working with lost, found and collected. She had lots of trials and errors produced the work for the show, with many experiments that were unsuccessful.

Print is fixed | Glass is ephemeral.

Michelle’s prints were beautifully delicate and easily broken. The images were of ID cards and were ID cards, not images.

The delicacy of language played a role in the concept for this fragile work and the venerability or conversations and relationships influenced Michelle's choice of material and reseated into digital decals.

Andreas Gustos (Poland)

‘Gene, Meme, Techne’

Andreas has a background in architecture and is a sound / digital artist.

Informare/information: To form, two shape.

Algorithm: a series of 0s and 1s make a pyramid structure.

Conway's Game of Life: there are four rules for the game, consisting of black and white grids. Active/Dead, 0/1 Today/Tomorrow *White/Black - justification for black/white prints, correct/incorrect, 0/1

Bethan Hughes

‘print_screen: surface, depth and the 3d rendered image’

*Ryan Bishop, et al. ‘The Post Digital …’ get this book, contains works produced post internet (Avery Singer, Mark Leckey, Ed Atkins. Notes in black notebook).

Words used: Old and new analogue, post internet.

Beth co produced, collaborated with the software.

*’To print is to capture, to preserve’ (Beth Hughes).

* The printed page enables the viewer to pause, to reflect. This is in contrast with notions of temporality (def: the state of existing within or having some relationship with time.) which often relates to social art work.

Origamni factory - buy kozo that for digital printing.

Digital tools are no longer not in use or unobtainable. Sidsel Meineche Hansen ‘Second Sex War’ combines virtual reality with cnc woodcuts.

Also see notes from Endi’s Poskovic’s talk.

Marta Anna Raczek-Karcz (Krakaw Faculty of Graphic Arts)

‘Perfection and Glitch: The influence of digital thinking on polish contemporary printmaking.’

The Matrix used to be hidden from the viewer and never exposed. It can now be a key subject fo an exhibition, such as in the ‘Graphic art: a play of art’ exhibition that was dedicated to the matrix.

Artists have been exposing the glitch, also known as error, rather than hiding them and using them in their favour. Errors are being used to an artists advantage.

Kamil Kullirek ‘Typography of War’ (2015). 3 keys words relate to his work: hypertextuality, variability and HD.

Lev Manovich’s states in his book ‘The Language of New Media’ (1999) that, as far as the cultural languages are concerned, ‘new media is old media’ . A tool is just a tool it is what you do with it.

Iman Moradi wrote the essay ‘Glitch Aesthetics’ (2004) and later his book ‘’Glitch: Designing Imperfection’, about the glitch being rewarding. The process of experimentation: trial: error: repetition.

Moradi describes complexity and taking perfection in data transfer for granted.

In Glitch Aesthetics Moradi describes:

Pure Glitch as something we see everyday. An error that occurred because of a malfunction and is unexpected. ‘The Pure Glitch’ is, therefore, an unpremeditated digital artefact, which may or may not have its own aesthetic merits.; (Moradi, 2.1.2. , p.10, 2004)

Glitch alike is a term created by an artist (?) which Moradi defines as a collection of digital artefacts that resemble visual aspects of real glitches found in their original habitat.

http://www.organised.info/wp-content/uploads/2016/08/Moradi-Iman-2004-Glitch-Aesthetics.pdf

Tristan Spill (2003) ‘Visual Glitches’

Digits (1s and 0s) digit - Repetition refers to mimicryUpdate | upgrade - has been fetishized, we constantly want better. More notes in notebook.

‘We remember less and less because we think google will remember it for us’ (Marta) We need to save data in our minds not just on computers.

Lisa Rakete, Incubator session (Finland Uni)

Romano ‘Copy Shop’ lyrics ‘who is the thief? who is the genius?’Print is an information carrier, not always about printmaking on gallery walls. It is not so much about digitisation or print, but how digital media is changing our culture. Marshall McLuhan (and Quentin Fore) ‘The medium is the message’, (predicted the internet?)

‘the book is an extension of the eye’ Marshall McLuhan

"The medium is the message" is a phrase coined by Marshall McLuhan meaning that the form of a medium embeds itself in any message it would transmit or convey, creating a symbiotic relationship by which the medium influences how the message is perceived (wiki).

The Phonetic Alphabet. Phonetic alphabet, fragments. They mean nothing on their own (?). There is a relationship between the letters.

‘Post digital print’ A Ludovico ‘books are still around and not dead.

What are the qualities of print? If for example, you look at a printed zine. It is interactive; you can make marks on it; it is tactile; flip the pages; smell it; it is physical; you can highlight it with a pen; you can hear the pages being folded. The Body removers the movements, the feel, the touch, the smell.

Laura Pfeiffer, made an archive of the traces people left in books in the work ‘Lessespuren’. The Archive may be in the form of container or bookshelf. How do we archive digital media? It is harder to loose physical books or paper. Computer back ups, lost files and corrupted files are a feature of contemporary culture.

Pediapress is a website that enables you to edit and print your wikipedia search as a book. Please note: Wikipedia searches are often edited 2 days ago. The printing service exists because people want to archive, to touch, to engage in physical print.

News from the global village: printmaking is not dead. Print is slow.

Why is ‘coding for beginners’ physical printed? It is out ion date the next day.

New York Times costs $14million online, $10million physical subscriptions. The value of print is changing. It was assumed to be of high value, but that is changing. The notion is that digital equals free, a democratic space where you don’t have to pay to be there. This is of course no longer true, apple for example are making a lot of money from the www.

Organisation and structurePrint is linear (Think of arranging the group to stand in order). The line becomes the continuum / organisation of life. Text is linear, consider libraries and the way we experience time.

Information is organised in groups (Think of standing by the person/people you know). In the digital world, it is more organic, it can change quickly and grouping is based on relationships.

2000 years of linear print history. Early amazing page was very linear, more like an encyclopaedia entry, like a p.book. Because that was all people knew.

Open source publishingCreate your own language rather than paying high companies, HTML etc. Reflect on the cultural value of this and contextualise.

Transmedia | Coexisting media

These may be better terms than ‘Post print’ ‘Post digital’

The post digital mindset. We read in linear ways. We speak and digest letters in words. We read left too write, often digesting only the first and last letters. That is why we are able to digest texts and are able to read large volumes. When we move through a landscape we digest fragments, not the entirety.

Is this a post digital mindset? Culture on instant gratification. There is a duality of mediums, with + and - for digital and print.

The nostalgia of analogue is troublesome. ‘The electronic revolution’ book. The speed at which things are becoming obsolete is getting faster and faster. Can you future proof research, prints or digital work? Where and what is the true archive. The digital world is time limited, we cant keep up. There is resurgence of vinyl and we have the choice to use digital, analogue, paper, or none of the above. There is a conscious decision to play a record or Spotify, a conscious decision to listen, to engage; an act(ion).

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