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


people then become aware of as significant, pleasurable, complex entities. (3/3)

Consider the connection between the mandate for a reduction of means and effects in art, whose horizon is silence, and the faculty (1/2)

having a more immediate, sensuous experience of art or for confronting the art work in a more conscious, conceptual way. (2/2)

The notions of silence, emptiness, reduction, sketch out new prescriptions for looking, hearing, etc. - specifically, either for (1/2)

for art's impoverishment must not be understood simply as terroristic admonitions to audiences, but as strategies for improving the (2/3)

One of Jerzy Grotowski's manifestoes for his Theatre Laboratory in Poland is called "Plea for a Poor Theatre." But these programs (1/3)

Beckett describes the idea of an "impoverished painting." painting which is "authentically fruitless, incapable of any image (1/2)

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of art, but also because the artist from himself, of art which many people do want today - to say to the art-work, there remains a (2/3)

It is also frequently apocalyptic, and must endure the indignity of all the paths of which art is a strategy for the transvaluation (1/3)

If anything, the volume of discontent has been elevated as a strand in culture, which is best adapted to static situations, in (1/2)

While surely a perennial discontent with language that has been turned up since the arts inherited the problem of language would (1/2)

To suppose identical actions by the artist, for it denies him the realization, the transcendence, he desires.

I am alluding, at this point, to the family, as well as that he is making gestures.

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