Avantgarde under net conditions




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perspektive nummer 43/44______avantgarde_under_net_conditions_________________________2002







perspektive 43/44


das perspektive doppelheft: der erste teil liefert eine zusammenschau von avantgardeansätzen im www und bietet einen theorieüberblick zum thema “avantgarde_under_net_condtions”.

im zweiten heftteil sammeln sich in gewohnter dichte theoriefragmente (etwa das neue kontrollverfahren) und diverse experimentelle autorinnen wie d. holland-moritz, sylvia geist, louis armand, rodrigo toscano u.a..


lesen sie doch einfach nach diesem text weiter auf unserer webseite http://www.perspektive.at im bereich “hefte“ oder “autoren“ oder stöbern sie auf der webseite http://avantgarde.perspektive.at im vollständigen material zu “avantgarde_under_net_conditions”.


das ganze heft können sie dort ebenfalls downloaden im pdf-format oder rtf-format.




perspektive 43 // avantgarde_under_net_conditions //


mark ehling

Other diagrams


interview - english


[question 1 - perspektive] eric kluitenberg defines for avant garde today the purpose to smash

the hegemonial surface/s and de(con)struct its cude output. your visuals

should reflect the complexity of surfaces and reality as much as possible.

the diagramatical aspect helps in this to combine complexity. how important

are for you surfaces and borders in your visuals? are diagramms a way

to deconstruct and/or reconstruct the established code?


[mark ehling]


I think borders are very important, because they can provide an artist (or

anyone who constructs objects, images or text) with several desireable

effects. First, there's a voyeuristic aspect to frames and borders--it

invites you to spy in the same way a lit window at night invites you to spy in, and, creepy as that sounds, I've always enjoyed looking in windows. Secondly,

borders allow you to play with context--to juxtapose. I could draw a

picture, for instance, of a cow. Now I don't draw very well, so it probably

wouldn't be a very good cow. But if I were to draw another picture--say, a t-bone

steak--and place it next to the cow, I've suddenly created a narrative: a

story of life and death. And the narrative was made possible by the border,

the distinction between cow and steak. The writer Donald Barthelme talks at

length about this effect regarding a work by Robert Rauschenberg called

_Monogram_, which is a stuffed goat encircled by a Uniroyal tire. The

distinction (or the border, if you will) between "goat" and "tire"

allows for a dialogue and a commentary between the two ideas, an interplay of meaning.


And lastly, for reasons I can't really explain, I tend to draw little boxes

first, when I draw on paper: I just make all these little boxes and then I

fill them up with images. Maybe I do that because I'm afraid I won't fill up

an entire sheet--I can't say for sure. But there's something very comforting

to me when I know what size of frame I'm going to use.


Regarding your question of why I use diagrams: I think I use diagrams

Because they allow me to utilize some of their inherent magic. I know "magic"

isn't a very accurate word, but it seems appropriate, because when I draw something

that's diagrammatic, I feel that I don the special properties of diagrams as

if by magic, which I can then exploit or deflect. For instance, diagrams are

supposed to be simple. They're supposed to help people carry out complex

tasks, like assembling a ceiling fan or dancing the salsa. Diagrams are also

authority figures: we find them in textbooks and in instruction manuals. So

when I'm drawing or writing about something that is decidedly *not*

simple--such as how humans interact with each other--diagrams can

become very funny in their reductionism. Just think: try drawing a diagram for the task,

"How to Live a Day on Earth." That'd be a diagram I'd like to see: massive

distortions everywhere, but also a kind of weirdly compressed insight.


[question 2 - perspektive] avant garde is a voyeur of the establishment and for this purpose using

the contemporary apparatus/media. your visuals are full of eyes: the

position/ing of the viewer and the aspect of eye/controll is important. what is the role of the viewer/reader in your work and where is the focus directed to?


[mark ehling]


It's tough for me to answer a question about viewers (or the role they play) because I don't consider them at all when drawing or writing. That's not to say I feel scorn or disdain or indifference toward them--I love viewers!—but honestly I'm first and foremost trying to amuse myself, trying to make something I can stay focused on. My attention span isn't that great, I'm afraid, and I just try to make something that I'd like to stop and look

at for a while.


[question 3 - perspektive] "if it looks cool - it is cool". you summarize your working. could

your work be seen as an assembling beauty? :-)


[mark ehling]


Well, I suppose "beauty" is a loaded word, and I don't know if I'd describe my

own work as beautiful. When I think of beauty I usually think of sunsets and

naturally occuring wonders and such. In my own work, I suppose I'm

interested a lot in iconic power--by which maybe I mean a certain compositional beauty.

I'll put it this way: when I was a child, our local newspaper would run

Little pictoral icons at the beginning of each section. The automotive page would

have a little car at the top, the sports page would have little rackets and

balls, and so forth. And my brother and I were fascinated with these icons,

and we would cut them out and paste them on these big poster boards.

And then we did absolutely nothing with them--we just looked at them. Why did they

capture our attention so fiercely? I have no idea. But I feel we did intuit

(even then) that there was a certain *designed* beauty about them--not the

same beauty as looking over a lush river valley--but a beauty

nonetheless. And so maybe I'm still being driven by little rackets and balls and cars and I

have no earthly idea why.





impressum


43/44/2002 ISSN 1021-9242


  • avantgarde_under_net_conditions (43)

  • zentral_einheit_come_together (44)



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email: robstein@perspektive.at


perspektive online – sylvia egger

email: serner@perspektive.at


konzeption heft 43 “avantgarde_under_net_conditions”:

sylvia egger


konzeption heft 44 “come_together_zentraleinheit”:

sylvia egger ralf b. korte

robert steinle helmut schranz


gestaltung printausgabe ralf b. korte

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© bei den autorinnen & perspektive 2002_____http://www.perspekitve.at_________________________seite ___


vollständiges material zu “avantgarde_under_net_conditions” (p43): http://avantgarde.perspektive.at

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