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"ink or link?"

sep.oct.nov.2009
Published on 21.09.2009 | primaverasurotoñonorte

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(ñ) Estamos pensando en merodear/auscultar al soporte analógico en general DESDE el soporte digital, tal vez replanteando la situación, no ya como los herederos de un tiempo previo que participamos del cambio sino como si lo digital hubiera sido la norma desde siempre y desde allí cuestionáramos los soportes ‘antiguos’.
- por qué toleramos (y hasta buscamos y nos regodeamos de) las precariedades y limitaciones del soporte analógico? En especial los libros.
- para compartir/share algo de un libro, hay que ponerse a typearlo y subirlo, cuando una vez digitalizado, el proceso está terriblemente optimizado.
- a qué viene entonces ‘el libro’? Es un gesto de privacidad y un refugio? Un solaz?
Una negación?
- qué sentido tiene enarbolar la validez (aparentemente de puro fetiche arcaico, retrógrado) de un soporte que no tiene una décima parte del alcance y las posibilidades del soporte digital (a través de la red, desde luego)?
- qué ficciones se han tejido históricamente, hasta la era digital, en torno a las obras presentadas como un absoluto acabado, definitivo, inalterable, individual, unipersonal y último, a causa de las limitaciones de lo analógico? (Su dificil alteración, aliteración, reutilización o reciclaje.
Esa eterna sensación de cosa terminada, cerrada, definitiva y en definitiva: quieta.)

- cuánto de ese romance con los libros está sustentado en errores de lectura, en concepciones ingenua y falazmente ‘románticas’ ?

- lo digital sólo pone en envidencia un tránsito que antes se veía entorpecido por las limitaciones de un soporte precario?

- no habría que cuestionar seriamente la posición jerárquica del libro?

- qué sentido tiene la cosa tangible cuando la tecnología la ha vuelto innecesaria?

- qué revisiones urgentes demanda el diálogo obra-soporte, mensaje-medio?

- lo digital depura la obra, forzándola, acorralándola, hacia el tránsito y la volatilidad que le corresponde?

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(e)
We’re thinking of prowling/auscultating the analogical medium in general FROM the digital medium, perhaps redefining the situation, no longer like the heirs of a former time who took part in the change, but as if the digital had always been the rule and from there we questioned the “ancient” media.

- why do we tolerate (and even look for and delight in) the precariousness and limitations of the analogical medium? Especially books.

- in order to share something from a book, we have to start by typing and uploading it, when once digitalized, the process is terribly optimized.

- what’s the point in “the book” then? Is it a gesture of privacy and refuge? A relief? A denial?

- what sense does it make to hoist the validity (apparently as a sheer archaic, retrograde fetish) of a medium that does not have a tenth of the reach and the possibilities of the digital medium (through the net, of course)?

- what dictions have been historically woven, until the digital era, around works presented as an absolute finished, definitive, inalterable, individual, unipersonal and ultimate, due to the limitations of the analogical?

(Its difficult alteration, alliteration, reutilization or recycling. That eternal sensation of a finished thing, closed, definitive and definitely: still).

- how much of that romance with books is supported by misreading, by ingenuously and fallaciously “romantic” conceptions?

- does the digital evidence a transit formerly hindered by the limitations of a precarious medium?

- wouldn’t it be necessary to (pardon my French) “stop screwing around with books and the likes”?

- what sense does the tangible thing make when technology has made it unnecessary?

- what urgent revisions does the work-format, message-medium dialogue demand?

- does the digital refine the work, forcing it, cornering it towards the transit and volatility that it deserves?

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edit(ing), direct(ing) + complements fernando prats art direct(ing) + design(ing) estudi prats colacao, correct(ing) + additional stuff rivera valdez translat(ing) alicia pallas original music nevus project / albert jordà original video raquel barrera sutorra listen(ing) hernán dardes open(ing) bars: lawrence roberts front alley back leds, uncredited images: fernandoprats manchas: miguel ruibal

...with ink from
istvan banyai alberto bañares brancolina jordi calvet flavio crescenzi guillermo cruz hernán dardes dou_ble_you oriol espinal julian gomez bill horne john kosmopoulos natalia osiatynska paula palombo alicia pallas alejandra pater isabel pérez del pulgar fernando prats lawrence roberts augusto rosa miguel ruibal jef safi jacob schere martín trebino rivera valdez susan wolff

contacting from...
a coruña antwerp barcelona bar harbor buenos aires cerro de las rosas genève granada grenoble lawrenceville london madrid montréal new york puerto madryn tarragona terrassa tokyo toronto warsaw

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