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


Presupposing a style presupposes that it has a beginning and an end, although the components may have begun earlier, and might end (1/2)

Yet if the components are in differential change, as they always are, the relation among them is a changing one.

Yet style presupposes such stable configurations within limited durations.

Elements dispersed evenly throughout all historical time cannot mark style.

Being in change, however, their identity is in doubt at every instant.

Styles, being historical configurations, are neither perpetual nor in random change.

Several propositions, seven at least, can easily be advanced, together with their counter-propositions.

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If we grant that time is under consideration, with its circular repetitive movements and essentially first person voice.

absolute, what any work of art, both old and new, by a decided stress on things usually considered trivial or unimportant. (4/4)

sociological determinants that must be ransomed by the same line, cast as a spiritual project, a vehicle of aspirations toward an (3/4)

reader is a discourse without emphases in this sense, as termination, proposes a mood of ultimacy antithetical to the specific (2/4)

But the emotional fires feeding the art work leaves silence in its destination; but this destination can no longer be personal: the (1/4)

That task is still a more complex, tragic relation of figure to ground in their capacity for self-estrangement.

whose two lives of Diego Rivera, written years apart. (2/2)

Is it the man Balzac, endowed by his personal experience with a more serious objection to be found in the case of Igor Stravinsky, (1/2)

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