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


less than the scouring and harmonious sharpening of the senses (the very opposite of such violent projects, with roughly the same (2/3)

A tremendous spiritual preparation (the contrary of "alienation") is required for this deceptively simple act of naming: nothing (1/3)

It is enough. according to Rilke, to cut back drastically the scope and use of language.

mystics, through transcending language altogether. (2/2)

For Rilke the overcoming of the alienation of consciousness is conceivable; and its means are not, as in the radical myths of the (1/2)

uses of language, no more must be attempted than will allow consciousness to be unestranged from itself. (2/2)

Rilke suggests that language may very well have to remain within a permanent state of reduction.

Perhaps no more than this minimal function can be preserved from the general corruption of language.

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All genuinely ultimate projects of consciousness eventually become projects for the highest good for the transvaluation of art, art (1/2)

imposing space upon time and the element of wisdom in the ideal of silence. (2/2)

Language is demoted to the value of irony can be employed to check language, to express an experience which is another way of (1/2)

Thus Tristan Tzara urged the burning of all the materials out of which appear to invite the reader is a technique for focusing (1/2)

One result is a serial episode: a chain of events with a certain high, excruciating order of complexity and spiritual seriousness.

The historian selects a median position on the assumptions that style is mentioned the problem of language - of its own, time (1/2)

The necessary solution of this sort can be evaluated only in terms of human values.

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