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research about neo-analog artworks, that is artworks that are composed by analog and digital materials from different moments in technological development. artworks with different materials assembled together, from different generation of media and technology, different practices.

interested in the situation where an artwork cannot be easily dated by looking at its materials, both physical and conceptual, this confusion, of dates and epochs, where it's not obvious whether it's a juxtaposition, an assemblage, a compression or a compaction of elements.

anarchronism as a portmanteau word that i find appealing, that guides me, even if perhaps it's just a step towards a more precise concept.
it's composed of the "an" prefix (the lack of) and "anachronism"
anachronism can come from error, ignorance or tradition, and can be deliberate, especially for artistic purposes.

does it make sense to look at typographical practices in that regard ?
cf remark earlier by Thomas about the relationship between nostalgia and current uses of Metafont/Metapost by young generations
also OSP Crickx font it into that element

one issue i'm interested is nostalgia/retro vs vernacular in the reappropriation of obsolete technologies

anarchronism captures other elements than retro/vintage that explain partly how the neo-analog works have been produced and distributed :
- aesthetics choices (grain, compression, loss through multiple copies)
- the agency brought by the repurposing of e-trash and obsolete materials that have lost most of their exchange values but still have use values. the loss of exchange value in the commodity market might though lead to an increased exchange value in the art market.

those two threads can be interlinked. anarchronism isn't only about style or effect. it goes way deeper than for instance glitch aesthetics, even if some of the artworks associated with glitch might relate to anarchronism as well.
the relation to time is crucial, i don't really know yet how to approach it. the idea of time compression interest me, of time that cannot be unfolded, where the artworks become out of time, or of all time.

in relation to technology, time is not linear. all artworks are somehow polychromic and multitemporal in the sense that their materials are an assemblage of elements with different temporalities. a computer, composed of hardware and software, is a good example : it has elements from very different point in times : from mathematics from many centuries ago to the latest electronic parts, software interface designed with metaphors of physical gestures from the past transformed (such as the cut and paste operations by editors) into strings of commands, into bits... it's situated in the here and now, updated quasi-automatically (requesting minimal human feedback), but it's related to the past by the multiple geneaologies of its conceptual and technological layers and to the future by its capacity to store information for subsequent retrieval, it works as the promise to hold and process data for the future, despite its fragility and ephemerality. it's linked to memory and to action upon past memory objects.


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