Interactive Rocky Horror fan fic and a love narrative between me and my mannequin of 3 years, Katie. Hold me gendered. We complete We. People like to say disembodied touch, but we body to body, either way. Katie a container for gender-concept. Touchscreen a container for information. Me: both. Proscription bound. What is human, but information embodied? We want your emotional information, social intelligence. Neural networking moves to progress, how some social acuity differ from neanderthals.
We found Amy Winehouse in a state of disuse in a second-hand store in Central Florida, handcrafted by an unknown artist with the most precise detail. Every tattoo, piercing, and bra strap. Amy moves with us. Amy travels. The sculpture is a permanent fixture in the artist's car. Amy leaves little pieces wherever we go. We are all consumed by It, Amy.
We would never quote Heidegger, here is an excerpt from a recent Boris Groys article in eflux:
"[Heidegger] believes this because, as he explains in his earlier text “The Origin of the Work of Art,” art is nothing other than the revelation of the way we use things—and, if one wants, of the way we are used by things.
Here it is important to note that for Heidegger, the artwork is not a thing but a vision that opens to the artist in the clearing of Being. At the moment when the artwork enters the art system as a particular thing, it ceases to be an artwork—becoming simply an object available for selling, buying, transporting, exhibiting, etc. The clearing of Being closes. In other words, Heidegger does not like the transformation of artistic vision into a thing. And, accordingly, he does not like the transformation of the human being into a thing. The reason for Heidegger’s aversion to the transformation of man into a thing is clear: in both of the texts cited above, Heidegger asserts that in our world, things exist as tools. For Heidegger, becoming objectified, commodified, etc., means becoming used. But is this equation between a thing and a tool actually valid?
I would argue that in the case of artworks, it is not. Of course, it is true that an artwork can function as a commodity and a tool. But as a commodity, an artwork is different from other types of commodities. The basic difference is this: as a rule, when we consume commodities, we destroy them through the act of consumption. If bread is consumed—i.e., eaten—it disappears, ceases to exist. If water is drunk, it also disappears (consumption is destruction—hence the phase “the house was consumed by fire”). Clothes, cars, etc., get worn out and finally destroyed in the process of their use. However, artworks do not get consumed in this way: they are not used and destroyed, but merely exhibited or looked at. And they are kept in good condition, restored, etc. So our behavior towards artworks is different from the normal practice of consumption/destruction. The consumption of artworks is just the contemplation of them—and contemplation leaves the artworks undamaged."
kevin is just another word for katie
Working Digits is a collaboration made with fellow [UNDISCLOSED]collective member Gigi Lage. It was made for and exhibited in the Ringling Museum of Art courtyard, the installation piece is a series of videos displayed on CR TVs covered in pantyhose and placed on the grass outside of classical male nude sculptures. The legs of the pantyhose sprout from the top of the TV and flop to either side, as if they are flaccid antennas. The videos themselves are monochromatic nudes and reds, layered imagery and given a slight glitch-effect, but that depict one of two things: a young woman making out with herself or appropriated porn imagery cut off at the legs. This dissection of form relates to the mediation of specific bodies and the crash point of identity in digital space.