The pieces in Hur span a space-time continuum between September 2013 and August 2016 during which we experimented with myriad media including the now- obsolete non-upgradable iPhone 4, an iPad Air 2, and two zombie netbooks which are basically dead. We have utilized many an app, and basic computer programs such as MS Paint on both analog and digital craftspeopleship which have since enabled us concretize a tangible line of flight within the exponentially emergent media milieux that aim to liberate the grounds upon which a collectively public domain be set in the utmost mycelial distribution of truer knowledge. The 24 pieces themselves are individual wholes contingent upon a social whole, as a practice of assemblage, as pointed towards and against each other as a counter-cultural direct action towards the anti-reductionist imagery as reflected upon the regency mirrors in the halls of contemporaneous art world—which ensures us the fact that a Xeno-Poiesis is thus needed within the entagled bubbly nodes of the Remixocene. Call them a glitch, a collage, or, the white noise of a drone. Read them as photograms. Assign them signs. Pronounce them subtly ad nauseam. They are informed by the Xerox praxis, and the life-giving narrative possibilities within the remix. They are not a visual essay that speaks of the remix studies. Rather, they are a call to make use of the Remixocene that governs all: Xerox, App, Photo ± Copy[left], Glitch, Drone, the Sonic, the narrative etc.
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