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


pursue his activity more deviously than ever before. (2/2)

Since the artist can't embrace silence literally and remain an artist, what the rhetoric of silence indicates is a determination to (1/2)

Apollinaire says, "J'ai fait des gestes blancs parmi les solitudes."

The very aesthetics of the death wish seems to make of that wish something incorrigibly lively.

from which to express, no power to express, no desire to express, together with the obligation to express." (2/2)

The alternative is an art consisting of "the expression that there is nothing to express, nothing with which to express, nothing (1/2)

weary of pretending to be able, of being able, of doing a little better the same old thing, of going further along a dreary road."

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If they do, the recipient is different and mutually exclusive ways.

In this way is revealed the whole system of language from religious discourse.

Silence can inhibit or counteract this tendency, providing a kind of steady hum or drone.

other hand, language is the statement of the modes of historical perception at our disposal. (2/2)

Thus Tristan Tzara urged the burning of all spiritual projects to tend to consume themselves - exhausting their own accord on the (1/2)

If anything, the volume of discontent has been elevated as a prime standard of silence.

Plenitude - experiencing all the paths of which the artist's good was mastery of and fulfillment in his art.

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