{"id":26501,"date":"2019-08-05T06:00:13","date_gmt":"2019-08-05T05:00:13","guid":{"rendered":"http:\/\/a-desk.org\/?p=26501"},"modified":"2019-07-19T10:55:08","modified_gmt":"2019-07-19T09:55:08","slug":"entry-1-flying-over-the-detritus-of-the-gif-by-eloi-puig-july-2016","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/entry-1-flying-over-the-detritus-of-the-gif-by-eloi-puig-july-2016\/","title":{"rendered":"Entry #1: \u201cFlying over the detritus of the GIF\u201d by Eloi Puig (July 2016)"},"content":{"rendered":"<p>The once-euphoric moniker \u201cdigital revolution\u201d was from the very beginning a contradiction in terms. So somewhere declared Siegfried Zielinski. What he meant of course was that the hegemonic thrust of the digital has been to counteract &#8211; by a corrective economy &#8211; the subversive potential of noise in the signal, miscommunication, and the degradation of appearances.<\/p>\n<p>The wretched of the screen, to borrow Hito Steyerl\u2019s term and argument, carry an ambiguous potential. From and beyond the margins of high production values and the financial interests they express, the knock-off status of the \u201clow-res\u201d simultaneously signals a circulability that mimics the ideal of the avant-garde underground: a \u201cconcept-in-becoming of images\u201d sprung from \u201can alternative economy of images&#8230;existing inside as well as beyond and under commercial media streams. In the age of file sharing, even marginalized content circulates again and reconnects dispersed world-wide audiences.\u201d[1]<\/p>\n<p>Alongside this potentiality, data analytics will show the opposite dynamic embodied in the person of the \u201cinfluencer\u201d \u2013 those online personalities whose very lack of ambition or pretense defines their public appeal, not only for their followers but also for the corporate brands that recruit them as targeted creators.[2] In sum, the low-res and the glitch \u2013 in the broadest sense of these terms \u2013 express an unsettled compromise-formation between contradictory interests in postdigital capitalism.<\/p>\n<p>At the end of his essay, <a href=\"https:\/\/a-desk.org\/en\/magazine\/flying-over-the-debris-of-gifs\/\">\u201cFlying over the detritus of the GIF\u201d (A*DESK, July 2016), Eloi Puig<\/a> obliquely raises a key question for art practitioners in relation to this contemporary dilemma. There, without much elaboration, he juxtaposes the comfort one feels today with the inconsistent quality of digital images, on one hand, and the renewed interest in concrete poetry with the rise of the internet, on the other. Interpretive intervention points this juxtaposition toward an operation \u2013 reified in the screen display \u2013 through which the digital image is abstracted from the contingency of its own concreteness. After all, it was the aim of concrete poetry to breathe life into the contingent space of the letter. But what of the recalcitrant abstractness of the screen which, as Puig notes, reduces the project of concrete poetry?\u00a0 A legitimate question for contemporary art practitioners arises here: How to foreground the contingent encounter with the digital image without simultaneously embracing the domesticated deviance of the marketing glitch?<\/p>\n<p><strong>Notes<\/strong><strong>\u00a0<\/strong><\/p>\n<p>[1] Hito Steyerl, \u201cIn Defense of the Poor Image\u201d in <em>Wretched of the Screen<\/em>(Sternberg Press, e-flux journal, 2012).<\/p>\n<p>[2] The well-known trend is explained in the data analytics article, entitled \u201cYouTube Influencers Sponsored Video.\u201d Retrieved 8 July 2019 from <a href=\"https:\/\/tubularinsights.com\/youtube-influencers-sponsored-video\/\">https:\/\/tubularinsights.com\/youtube-influencers-sponsored-video\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The once-euphoric moniker \u201cdigital revolution\u201d was from the very beginning a contradiction in terms. So somewhere declared Siegfried Zielinski. What he meant of course was that the hegemonic thrust of&#8230;<\/p>\n","protected":false},"author":2635,"featured_media":26515,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6008],"tags":[],"coauthors":[6584],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Entry #1: \u201cFlying over the detritus of the GIF\u201d by Eloi Puig (July 2016) &#8211; A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/entry-1-flying-over-the-detritus-of-the-gif-by-eloi-puig-july-2016\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Entry #1: \u201cFlying over the detritus of the GIF\u201d by Eloi Puig (July 2016) &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"The once-euphoric moniker \u201cdigital revolution\u201d was from the very beginning a contradiction in terms. 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