1967–20171967–2017

Aspen was a multimedia magazine of the arts published by Phylis Johnson from 1965 to 1971. Each issue had a new designer and editor. “Aspen”, Johnson said, “should be a time capsule of a certain period, point of view or person”. New York-based Irish artist and critic Brian O'Doherty edited aspen 5+6, a double issue of the magazine, which was published in 1967.
     aspen 5+6 is currently being exhibited as part of the Coast-Lines exhibition at The Irish Museum of Modern Art (IMMA). The Collections Department at IMMA invited the Orthogonal Methods Group (OMG) to respond to Aspen 5+6. Our response, entitled 1967-2017, considers the legacies of Aspen 5+6 and Experiments in Art and Technology (E.A.T.). E.A.T. was established in 1967 – the same year in which Aspen 5+6 was published – in response to the success of the previous year's 9 Evenings: Theatre and Engineering, a series of events at New York City's 69th Regiment Armory.
     One facet of OMG's response is an object called Placement as Language. It has a physical manifestation at IMMA for the duration of the exhibition and an online manifestation below and on Twitter.

Click here to download the guide to OMG's response to the Aspen 5+6 exhibit at Coast-Lines.

Placement as Language

Aspen 5+6 contained three essays: Roland Barthes' Death of the Author; George Kubler's Style and the Historical Representation of Time; and Susan Sontag's The Aesthetics of Silence.
     Here the original communication platform — a magazine in a box —is replaced by a contemporary one — Twitter. Two feeds are produced, each of which is available to read here via Twitter and also in the gallery printed onto streams of paper.
     1 @aspen_ordered divides the three essays into Twitter-sized 140 character chunks, transmitting them one by one into the world.
     2 @aspen_reordered employs an algorithm to create new variations on the original texts. These variations are generated by a statistical algorithm called a Markov Chain that generates sentences based on the probability of one word following another in the original text.

1 Ordered
2 Reordered

@aspen_ordered

Most valuable art in our time has been experienced by audiences as a move into silence (or unintelligibility or invisibility or (1/3)

More typically, he continues speaking, but in a manner that his audience can't hear.

The exemplary modern artist's choice of silence isn't often carried to this point of final simplification, so that he becomes (1/2)

written, "No bird has the heart to sing in a thicket of questions") (2/2)

(That the artist can persevere in the interrogation of his art until he or it is exhausted isn't in doubt. As René Char has (1/2)

It suggests that the artist has had the wit to ask more questions than other people, as well as that he possesses stronger nerves (1/2)

For, to be a victim of the craving for silence is to be, in still a further sense, superior to everyone else.

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@aspen_reordered

For a person to become opaque for the incineration of consciousness eventually become projects for the ordeal of consciousness.

Every portrayal affects the identity of the writer no longer in order to induce in the contemporary scene.

Some kinds of historical style which is what people ordinarily mean when they consider something said to be simply that of provoking (1/2)

life to be simply that of provoking actions: speech provokes further speech. (2/2)

G. A. Brecher showed in 1932 that the artist has had the wit to ask more questions than other people, then the textures of ordinary (1/2)

From then forward, any of the plenum can collapse in a terrible.

The newer myth, derived from a stance other than the economic historian or the statistician.

The anthropologist, A. L. Kroeber, described style as a limited, vicarious participation in the disciplining of children.

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