Viral Not Virus: Alan Liu’s “Viral Aesthetics” Reconsidered
Symposium:
- ISEA2011: 17th International Symposium on Electronic Art
- More presentations from ISEA2011:
Session Title:
- The Matter with Media
Presentation Title:
- Viral Not Virus: Alan Liu’s “Viral Aesthetics” Reconsidered
Presenter(s):
Venue(s):
Abstract:
Panel: The Matter with Media
My paper will explore how a particular subset of contemporary internet-based artworks intentionally operate as “work as assemblage” (after N. Katherine Hayles in My Mother Was a Computer). The examples I will use – Seth Price’s Dispersion (2002-Ongoing), Oliver Laric’s Versions (2009 and 2010), and David Horvitz’s Idea Subscription (2009) – all destabilize the idea of a static, ideal “work” by relying on their diffuse circulation and instantiation through networks for their realization. Notably, they all involve a text in some way – Dispersion and Versions are essays about visual culture and the distribution of content online and both take many forms,Dispersion circulates across various media – sculpture and printed booklets – where Versions is remixed by other artists and curators. Idea Subscription was a year-long tumblr blog disclosing written (often whimsical) ideas for readers to implement, which was recently repackaged in book form as Everything That Can Happen in a Day.
In response to what Alan Liu terms “viral aesthetics” in The Laws of Cool, I will argue that these works offer another, alternate aesthetic mode to “viral aesthetics” – one that operates through its immersion within the endless stream of information, where presence results from serendipitous instantiation. Liu emphasizes the “destructive creation” of art by Joseph Nechvatal, Jodi, and William Gibson’s Agrippa (A Book of the Dead) – examples that subvert knowledge work by engaging in a destructive mode of productivity, one that problematically contains the assumption that taking something apart reveals its inner truth. While the art practices I would like to discuss also circulate in a “viral” fashion, they do not engage in corrosive destructivity, e.g. Nechvatal’s computer virus projects. Rather, they offer insight by way of a constructive, symbiotic relation with the information technologies that enable them, becoming powerful through their own momentum and spread, an aspect yielded by their existence as “works as assemblage.” By foregrounding the facets of their own transmission, Dispersion, Versions and Idea Subscription provoke a meditation on the movement of information online.