LINK Editions
Domenico Quaranta, In Your Computer, 2011
Valentina Tanni, Random, 2011
Miltos Manetas, In My Computer – Miltos Manetas, 2011
Gene McHugh, Post Internet, 2011
Domenico Quaranta (ed.), Collect the WWWorld. The Artist as Archivist in the Internet Age, 2011.
Exhibition Catalogue. Texts by Josephine Bosma, Gene McHugh, Joanne McNeil, Domenico
Quaranta
Brad Troemel, Peer Pressure, 2011
Brad Troemel
Peer Pressure
Publisher: LINK Editions, Brescia 2011
www.linkartcenter.eu
This work is licensed under the Creative Commons AttributionNonCommercial-ShareAlike 3.0 Unported License. To view a copy of
this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/
or send a letter to Creative Commons, 171 Second Street, Suite
300, San Francisco, California, 94105, USA.
Printed and distributed by: Lulu.com
www.lulu.com
ISBN 978-1-4709-1561-2
!"
Brad Troemel makes and writes about art on the internet. His writing has been featured in
magazines and books. His art has been featured in galleries and sometimes even museums. He
has earned two degrees from prestigious American art schools. He currently lives in a city full of
diverse cultures and complicated intellectuals. Friend request or e-mail him, he'd be happy to talk
to you. http://bradtroemel.com/
Contents
Brad is a Mod – by Eva and Franco Mattes
1
Introduction
5
What Relational Aesthetics Can Learn From 4Chan
9
The GIF’s Obsession With Compression
19
Why No Serious? A Case for Idealism in an Era of Constant Irony
25
From Clubs to Affinity: The Decentralization of Art on the Internet
33
Provocative Materiality in the Valley of Death
47
The Many Faces of Tumblr
55
Making The Best of a Permanent Pay Freeze
61
The Emergence of Dual Sites
67
New Productive Systems
71
Screens on Screens (Ben Schumacher)
85
Why You Should Make Yourself Someone Else Online
91
Tsimulacrum
99
In Response to ‘Dispersion’ by Seth Price
103
The Minor League
111
The Wealth of Pointlessness
119
Friend Request From My Mom
125
Brad Troemel – Peer Pressure
Brad is a Mod
1
Brad Troemel – Peer Pressure
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The older the club the more convoluted the semiotics of
communication between surfers becomes. This
communication entails posting organized content by a
challenger, and a decoding of it by other participants, who
respond with a posting where both syntagms and paradigms
of the challenge post are identif ied and playfully manipulated.
[5]
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artists intuitive relationship with art history is now going
beyond what we call “the art of appropriation,” which naturally
infers an ideology of ownership, and moving toward a culture
of use of forms, a culture of constant activity of signs based
on a collective ideal: sharing. [7]
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Don’t you think that if you wanted to look at the possibilities of
an art that’s theoretical horizons encompass the realm of
human interactions in a social context, wouldn’t you want to
just go out and meet people and have a good life? I mean, to
me it seems as though a lot of this work is made by people
who are scared to live life in the first place – incredibly
unradical people [8] who play a game of a radical life in the
safe confines of some Kunsthalle or other museum in
Germany or France. [9]
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[Many GIFs] are built around the payoff moments of Did you
see that?-style viral videos. These GIFs are structured like
jokes, with the barest minimum of set-up… They get to the
point instantaneously, and at the exact moment when one
feels the impulse to rewind and watch the climax again, the
loop restarts right where it should… Like an enhanced bumper
sticker or T-shirt, the GIF offers a pithy, punchy means for selfexpression.
21
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Human memory is intimately tied to isolated moments in time.
According to the Atkinson-Shifrin model – the same one that
divided human memory into long-term, short-term and
sensory – most of the things we experience are not committed
to long-term memory beyond a few select moments. So it
makes sense that we’ve embraced GIFs as these suspended
moments in time, looping only the information necessary to
conjure a particular emotion or memory.
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While the field of art online continues to thrive, art engaged
with the internet does not need to exist there; because the
internet is not just a medium, but also a territory populated
and fought over by individuals, corporations, and
governments; a communications tool; and a cultural catalyst.
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The transformation from rural to urban life was so sudden,
and so wrenching, that the only thing society could do to
manage was to drink itself into a stupor for a generation. The
stories from that era are amazing – there were gin pushcarts
working their way through the streets of London. [1]
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A trillion dollar debt is theirs to inherit, and Social Security is
theirs to give but never to receive. They feel alienated and
disillusioned, and are disparaged by the baby boomers with
whom they so often feel at war... With more than half of them
coming from divorced families, and with innumerable
advertisements targeting their massive market demographic,
they are cynical, wary, and apathetic... Generation X,
suspicious and indifferent, needs nothing.
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All of MTV is a commercial. That’s all that MTV is. Sometimes
it’s an explicit advertisement paid for by a company to sell a
product. Sometimes it’s going to be a video by a music
company there to sell music. Sometimes it’s going to be the
set that’s filled with trendy clothes and stuff there to sell a look
that will include products on that set. Sometimes it will be a
show about an upcoming movie paid for by the studio (but you
don’t know it) to hype a movie coming out from Hollywood.
There is no non-commercial part of MTV.
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“Technology will in the near and farther future increasingly turn
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- Jon von Neumann, member of the Manhattan Project and
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Introduction
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What becomes apparent through the reading of printed
variants of the original file is not only differences in the modes
of production but the subjective behavior of the authors of the
variants who will the original file into existence.
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Scanning software used to map large areas of terrain enters
the world simultaneously with the time of their production and
denies any notion of subject or subjective gaze. The formerly
irreducible time between an event and it’s inscription in the
world is reduced to 0 and the subject (of enunciation and
operation) has disappeared… Like Acheiropoieta, there now
exists representation that functions autonomously,
independent of human intervention and inscription.
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the physical objects themselves may differ in their material
qualities and precision due to constantly updated printing
technologies.
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Why You Should Make
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What if our RSS aggregators could tune into feeds from
Amazonian forest and the daily clear-cut blog? Or critter cam
video blogs that show us how really nasty seal bulls can be to
96
Brad Troemel – Peer Pressure
their pups when they’re not playing their circus act at Sea
World. And video blogs from schools of dolphins and whales
that will make it increasingly difficult to ignore the plumes of
toxins in the oceans and the slaughter of their kin by whalers
and felonious fishing fleets. [2]
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What would it mean to step outside of this carefully structured
system? Duchamp’s Rotorelief experiment stands as a
caution, and the futility of more recent attempts to evade the
institutional system has been well documented.
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An art that attempts to tackle the expanded field,
encompassing arenas other than the standard gallery and art
world-circuit, sounds utopian at best and possibly naïve and
undeveloped […]
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We are all members of cultural fields. We carry, in each of us,
our institutions inside ourselves. There’s a museum here,
inside of me, with the Corinthian columns, the grand staircase,
and the mezzanine. […] Just as art cannot exist outside the
field of art, I cannot exist outside the field of art, at least not as
what I am, which is an artist.
105
Brad Troemel – Peer Pressure
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[t]he film avant-garde, for instance, has always run on a
separate track from the art world, even as its practitioners
may have been pursuing analogous concerns.
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[biopolitical art] must depend on a record of its intervention
into the world, and this documentation is what is recouped as
art, short-circuiting the original intent [of blurring art and life].
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Suppose an artist were to release the work directly into a
system that depends on reproduction and distribution for
sustenance, a model that encourages contamination,
borrowing, stealing and horizontal blur. The art system usually
corrals errant works, but how could it recoup thousands of
freely circulating paperbacks?
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The r st-generation critique of the democratizing effect of the
Internet was based on various implications of the problem of
information overload, or the Babel objection. According to the
Babel objection, when everyone can speak, no one can be
heard, and we devolve either to a cacophony or to the
reemergence of money as the distinguishing factor between
statements that are heard and those that wallow in obscurity.
[3]
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Users tend to treat other people’s choices about what to link
to and to read as good indicators of what is worthwhile for
them. They are not slavish in this, though; they apply some
judgment of their own as to whether certain types of users –
say, political junkies of a particular stripe, or fans of a speci c
television program – are the best predictors of what will be
interesting for them. The result is that attention in the
networked environment is more dependent on being
interesting to an engaged group of people than it is in the
mass-media environment, where moderate interest to large
numbers of weakly engaged viewers is preferable. Because of
the redundancy of clusters and links, and because many
clusters are based on mutual interest, not on capital
107
Brad Troemel – Peer Pressure
investment, it is more dif cult to buy attention on the Internet
than it is in mass media outlets, and harder still to use money
to squelch an opposing view. These characteristics save the
networked environment from the Babel objection without
reintroducing excessive power in any single party or small
cluster of them, and without causing a resurgence in the role
of money as a precondition to the ability to speak publicly. [4]
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issue of Harper’s Bazaar were uses of mass media to deliver
coded propositions to a specialist audience, and the impact of
these works, signif icant and lasting as they were, reverted
directly to the relatively arcane realm of the art system, which
noted these efforts and inscribed them in its histories.
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The Minor League
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