Modern Researcher Gallery

RND/ to imagine conceptual digital art regarding contemporary ‘Researchers’ / possible research modes discovered during course of daily lab work by freelance postmodern internet theorist Robert What

Akihiko Taniguchi Online

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Akihiko Taniguchi Online

Oh/ to exist as a cool New Media Artist – in quotes free to endlessly tinker with useless technology in name of something as deliberately vague as art

To have ones own virtual studio make locally manifest ones little digital online experiments direct from conceptual void of technological phantasy – with mildly squashy pears

Fluxus Train

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Fluxus Train

Ding ding! All aboard the driverless Fluxus train to meta critical New Media perpetuatio – even though ey have no idea / little but ideas concerning Fluxus

Franco: Bad Conceptual Art

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Franco: Bad Conceptual Art

Tell ey what/ balls to such insufferable walking vanity art projects

Henry & Lydia In The Memory Garden

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Henry & Lydia in the Media Garden

To imagine a scene from some faded forgotten VHS art movie in which a couple, alive in ir young naive existence / mode stare out into unforgiving universe of endless overgrown back gardens and forlorn emotional rubble

An associated book of iron philosophy coming soon [1]

Hopper’s Long Leg

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Hopper’s Long Leg

In which the oblique defamiliarized aesthetic dimensions of ambiguous interior fantasy locally manifest on troubled morning seascapes of unstable postmodern verticality

John Register: Curtain In The Wind (1983)

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John Register Curtain In The Wind (1983)

To consider urban midnight inversions of architectural mood buildings viewed as rapid passing carriages to a radical elsewhere

The Knife Grinder (Kazimir Malevich)

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Knife Grinder, Kazimir Malevich

Remix of a classic – multiple overlaid forms of a complicated historical Soviet color dynamic

No Right Click: Save Saaatchi Art

A Digitally appropriated & re-tinted image of John McConnico DeYoung 11:38AM via Saaatchi Art: “Be Original”(tm)

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No Right Click: Save Saaatchi Art

Official example art statement via Resarc Robert What: Conceptualized after being unable to right click / save architectural image on Saatchi Art Online

Something about n however still smells like some creepy digital vampire thoroughly deserving of a thick artistic steak; ironically x image seems ir castle

Rich Artists: Never Too Late

To consider a remix of an artful post about Adrien Brody by editor Alexander Forbes; photographer by Sylvia Plachy

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Rich Artists Never Too Late

Example Art Statement via freelance amateur postmodern internet theorist Robert What: Yeah ey too often wouldn’t mind roleplaying the part of a rich artist – if only ey could fucking afford it

While Adrien Brody no doubt is very nice with considerable acting talent/ consider the following poem expressing a small polite critique of those who may simply pay ir way into The Art World

Try as ey might
Such gracious noble lords
Who idly lift ir brushes
Think ey then write or draw
Cannot/ for who can wield a pen
When ey feel bored

Such minds of leisure only
Can only express the trite
Those pretty knights who
Feebly lift ir swords
To make witless thrusts
Against ey artistic doom
Foiled by what ir
Noble birth affords
Art Art more fucking Art displayed
In far too many white & empty rooms

So doth fortune smile on
Those who own much hype or land
Yet frowns at depthless trivia from
Such dabblers’ soft, pink hands

At this juncture ey would like
To drop such privileged art
In the midst of filthiest manure
– paraphrased via Fellow resarc Heathcote Greene

Robert What: Net Art Award Failure

AKA on *not* winning the shitty Prix Net Art Award, 2015

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Robert What Net Art Award Failure

The merest mention of rat (sorry, Art) – along with “Culture” – now makes freelance postmodern internet theorist Robert What queasy

After a recent relapse back into near total alienation from constantly dull and arbitrary Art – consider an (unsent) torrent based nomination to shit Prix Net Art jury followed by a remixed response to ir announcement of the actual(R) winner

Example Resarc Statement via theorist Robert What:

Robert What: A self assembling conceptual torrent based performance combining high quality 4k screenshot of the international Prix Net Art award homepag, plus a quote by an American ethnobotanical psychonaut; any resulting feelings experienced by fellow resarcs having participated in such experiment by simply downloading ey

Ir are discovering there’s an artificial angel within the monkey
– Paraphrasing Terence McKenna

More research at robertwhat dot com

In november 2015 after extensive deliberation over nice wine delicious cheese niblets, the Prix Net Rat jury casually announced x second annual $10,000 Prix Net Rat would not be awarded to freelance amateur postmodern theorist Robert What

Robert What’s ‘avant garage’ practice (allegedly originating in or near bike shed in an alternative 1979 Netherlands) in no way transcends traditional categorisation using pseudo diverse media in order to explore socio political or technological themes and only cynically reflects on broad cultural social effects of communication image processing technologies from performativity – as x even word – distributing artificial social capital on social media to not completing staff banned Kickstarter campaign for hardware start up called Punch Out Kickstarter(TM)

Ir work – whatever x seems – does not include slickly coded websites, trite performances expensive routers cool installations startups armies of undead or manipulated found images frequently juxtaposing or consolidating quote technically dichotomized presentation realms

Recent solo exhibitions include the CS:GO ‘noclip’ Hypertography exhibit [2]

What neither lives nor works in Berlin or Amsterdam – because ey can’t afford n

The Culturally sanctioned official jury statement sounds like ey should be wearing black gowns while ey pass judgement on what Rat is this year

The Jury looked at the specific role of Net Rat within some supposedly larger Rat context

The main issue here – at least for ey – was to emphasize the relevance of such a prize for works and practices made in the context of the Internets to highlight critical issues / developments in x much maligned field

Net Rat has clearly not moved beyond the hip pink skinned media rat ghetto or Cultural colonialist vanguard of the global capitalist matrix

Ratists and Rat institutions of various disciplines and plumage are starting to explore fiscal possibilities of the Internets

Importantly, The Jury feels Cultural development without the Internets is almost unthinkable at x point in time (ey have obviously never heard of pulling plugs)

X transformation of ir Rat field as often described in terms of post media or post digital / post Internet Cultural production – which seems complete balls of course

While recognizing value of these developments, The Jury thinks x Prix Net Rat should support Ratists who (somehow) critically engage with ‘core issues’ surrounding Rat / The Internets / with The Internets as ‘medium’ – which n isn’t – rather just another platform for endless self aggrandisement – a vacuous social network for likes / clickbait upvotes

Special consideration goes to Ratists who use or quote reflect upon practices originating in the base culture of Internets; developers makers and hackers without whom ‘Internets Culture’ would not exist or without whom these cultures would be very bland *cough*

The convenient fluidity of boundaries between resarc tech communities and questions of authorship / virtuosity and (urgh) ‘performativity’ of Rat in mediated environments are important aspect of the mediocre work of the winners of the 2015 Prix Net Rat award

Robert What’s ‘work’ stays un-firmly yet non defiantly outside realms of contemporary Rat but from a wobbly position profoundly misinformed by conditions of new media networks – technical as well as cultural social economical political networks

What does not strive for ‘an honest respectful or unembellished approach to materials conditions of the network’

At same time ir work lacks humour, wit or critical commentary

The scope of What’s work is unimpressive and reaches from informalistic yet sometimes bordering on interesting works, to extremely layered conceptual pieces suffering from mild Terminal Boredom

From ir early work in which ey plays – idly – with elements of performance, to recent experimental RND projects in which ey reveals fascination with anyone who (like ir elves) finds the history and economic context of contemporary resarc tools deathly dull

The Network has not been What’s truer environment, meta-physically nor culturally

What’s recently relaunched non-site Robertwhat Dot Com seems in an depth investigation of underlying processes of virtual mis-production, for ey too created an imaginary startup company last night in bed which produces some crappy video gallery widget – a useful tool for pink Ratists of allegedly challenging copyright barriers between commercial play / Resarcs / formats of the video real – a cynical trojan horse to get Ratists(TM) back to work; basically some lousy hardware screensaver – into collections and museums run by mechanical fools

The Work barely highlights dependence of present day cultural production on chain of workers and processes; x makes Cultural production even less liberating than even The Jury presenting n / elves seems

Arbitrary Rat Statment example by the true winner (quote): “X kind of stuff”

Oh yeah x obvious ir have really thought x through – you talentless munt  *cough* not feeling envious bitter hollow or anything honest [3]

St Vincent 4AD

To consider a screenshot wallpaper of the 4AD session by St Vincent [4]

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St Vincent 4AD

Track list

– Chloe In The Afternoon
– Surgeon
– Strange Mercy
– Year Of The Tiger

What a roll/ watching x hilarious keyboardist in the background somehow just *knowing* he’s some slick shit

Reference Links:

  1. Robert What: The Iron Philosophy of Henry Rollins
  2. Robert What: CS:GO Noclip Hypertography
  3. Robert What: Failed Itch (Vanity) Project
  4. LOLtube: St Vincent – 4AD Session

// how to play big science