In That Weird Age highlights a music culture in transition, showcasing the odd splendour of plenitude that currently arises from now defunct physical storage media and the end of fixed recordings, as well as from the new musical vernacular of internet user cultures, the exponential potency and open-ended processability of digital sound files, the amassment of immaterial artefacts in online archives, and the promiscuous connectivity of a general state of plenty, where everything exchanges with everything.
Tim Tetzner is a Berlin-based writer and visual artist preoccupied with issues of cultural hierarchies, obsolescence, and shifting values.
“The Ways Things May Go“ (2012, ongoing)
Generative Art / Computational Art class at UdK Berlin; Hannes Hoelzl, University of the Arts Bremen; Julian Rohrhuber, Music Informatics / IMM Duesseldorf; the Digitale Klasse at Angewandte Kunst, Vienna.
“Skrillex Variationen” (2013)
Social platforms are the modern form of archives. While Facebook organizes everything we want to share with the world, especially moods and daily insights, and Flickr displays the picturesque side of our lives, YouTube is currently the most appreciated moving image and sound archive.
Heavylistening are Berliners Carl Schilde and Anselm Venezian Nehls. They fuse ideas and concepts of popular music and the reflective sensitivity of contemporary art to create highly specific sonic experiences.
“MOM – Mother of All Records” (2012)
The glass master of WOW, allegedly the most minimal record ever made, is an auratic object that points towards the end of recorded music as fixed, but faithfull reproductions of real life occurences or an artist’s work, an instead hints at the in many regards open-ended fluidity of music today.
"YouTube as a Subject" (2008) and "Terms of Service" (2012)
"YouTube as a Subject" concentrates on the old version of the YouTube play button, giving it a life of its own; the button is allowed to fall, to be out of focus, or even to disco-dance. "Terms of Service" points towards Googles true interests, that should actually be obvious, but are usually neglected by the everyday routines of users.
Collection of videos from YouTube, curated by CTM, 2012–2013.
“Terminator” (2010) / “Rocks” (2011) / “Explosions” (2010)
Tabor Robak’s work blatantly exhibits a decisive love for virtual culture and a digital-only, “post-retro” aesthetic that throws each and any desire for authenticity overboard.
Doppeldenk’s "–" (minus) is the dark half of a work complex loosely revolving around Kraftwerk and the associations triggered by their name.
“Vinyl Rally” (2009)
If ever you wondered what could be done with your old vinyl other than preserving it in your personal archive, have a look at the Vinyl Rally, where more than 6000 vinyl records are re-used in the construction of a car racing circuit for remote control cars outfitted with styli.
"o.T"(2012) and "Tape" (2009)
The work "Tape" is a bronze memorial for the audio tape. "o.T." (German for "untitled") is comprised of a photograph of a blurry sun, inserted into a strange background of a painted forest tortured by a storm.
"7 Responses to Constant Dullaart's "YouTube as a Subject'" (2008)
Constant Dullaard’s "YouTube as a Subject" triggered many reactions, including one from Ben Coonley.
“The 120 Megabytes Archive“ (2011 – ongoing)
120 Megabytes is Network Awesome’s spin on the MTV classic underground music video program 120 Minutes.
“Technoviking Skulpturen – Teilabguss nach Original von Shinya Yamaoka” (2010)
Internet memes question authorship and property, subjects that are examined by Matthias Fritsch.
“Global Groove“ (1973)
Distributed by LIMA - Amsterdam
“This is a glimpse of the video landscape of tomorrow, when you will be able to switch to any TV station on the earth, and TV Guides will be as fat as the Manhattan telephone book”. So begins Global Groove, a seminal work in the history of video art.
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