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

traditional serious use of silence: as a zone of meditation, preparation for spiritual ripening, an ordeal which ends in gaining the (2/3)

Silence in this sense, as termination, proposes a mood of ultimacy antithetical to the mood informing the self-conscious artist's (1/3)

to him, emotionally and ethically, and he is more satisfied by being silent than by finding a voice in art. (2/2)

Now it's suggested that the highest good for the artist is to reach that point where those goals of excellence become insignificant (1/2)

a progress toward "the good." But formerly, the artist's good was mastery of and fulfillment in his art. (2/2)

Through it, the artist becomes purified - of himself and, eventually, of his art, The artist (if not art itself) is still engaged in (1/2)

Though no longer a confession, art is more than ever a deliverance, an exercise in asceticism.

judged more impatiently, art is a false way or (the word of the Dada artist Jacques Vaché) a stupidity. (2/2)

The truly serious attitude is one that regards art as a "means" to something that can perhaps be achieved only by abandoning art; (1/2)

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@aspen_reordered

Another, apparently opposed, use for silence: furnishing or aiding speech to it.

Certainly, art conceived as a spiritual project is no less serious for being proclaimed in a world furnished with many other works (1/2)

The extent to which one among many entities or components is regarded as a spiritual project, a vehicle of aspirations toward an (1/2)

Yet if the components may have begun earlier, and might end later than the crippled one of the work of art supplies is a single (1/2)

Indeed, it could be argued that silence is more satisfied by being silent than by finding a voice in art.

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