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Figure 8: Byström A, Wifi for wife, Mixed media (2014). 

Source

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P1

As mentioned previously, one of the pertinent themes of this project is the attainment of desire. How is desire defined? Is desire something physical? universal? Can it manifest?. Desire is defined as the strong feeling of wanting to have something or wishing for something to happen. 

Exert 1:

“Desire, craving, longing, yearning suggest feelings that impel one to the attainment or possession of something. Desire is a strong feeling, worthy or unworthy, that impels to the attainment or possession of something that is (in reality or imagination) within reach: a desire for success” 

I focus on the line “…impels to the attainment or possession of something that is (in reality or imagination) within reach.” The desired attainment becomes a pertinent aspect of my investigation as to how and why desire manifests itself in the online realm. This bids me to question - what ‘attainment’ is the viewer getting from my sites? Is this possession physical? Or emotional? Do I (as the coder) grant them permission to attain something from either myself or the webpage? And if so what is the attainment?. When a user interacts with any particular aspect of my site there is a luring and tempted exchange that takes place on the interface in the immediate. But one bids the question again, what makes someone feel tempted to snoop? Is it the work itself? No, it is the privacy of being behind the screen. The ‘policing’ of spaces without a physical presence stems from the theory of the panopticon. This idea was introduced by English philosopher Jeremy Bentham who claims that “…power should be visible and unverifiable.” (Ethics Explainer 2017). In a simple sense, the panopticon refers to constant surveillance, making any private action public. In comparison to Bentham, the philosopher Shoshanna Zuboff explains the various ways in which data collection is used as surveillance (Ethics Explainer 2017). Zuboff refers to this type of surveillance as a “information panopticon” (Ethics Explainer 2017). Whereby “your online behaviour and actions can always be seen but you never see the observer” (Ethics Explainer 2017). Interactions online take place at the end of the fingertips with only one other changing variable i.e. the user. Based on these theories, I am suggesting the customer be an intruder to an experience that reveals aspects of myself as represented within the machine of the interface. In this sense, although my physical presence is non-existent, the coder’s voice is not. The idea that something or someone is ‘present’ surveying the digital space assumes a seductive ideal. This experience of this encounter permeates a condition that suggests a sexual tension (perversive presence). Should the user choose to advance the ultimate question is -  how far will the interaction go until the user discovers myself? therefore, this is by a selective process at the discretion of the user. Should the user choose to do the work I allocate I will reward them for the advanced interaction. I as the coder will reward is the value of the users  experience. All of these are significant into the production of each site. 

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Figure 7: Linkoln A and Jimpunk, Screenfull (Screenshot of work), 2004-5.

https://anthology.rhizome.org/screenfull

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P4

To end this chapter, I would like to focus a work by Abe Linkoln (Rick Silva) and Jimpunk (name unknown) who’s work is similar to mine (figure 7). Both artists had created a blog in 2004-2005 using the platform Blogger entitled ‘Screenfull’ (founded In 1999-current in comparison to Tumblr which was founded in 2007-current). This work depicts a crowded site that takes a “…maximalist approach to content and design…” as they described this work as “…stadium rock net.art.”. The artists posted regularly showcasing their multidisciplinary skills through short videos, GIFs, images and audio clips. They portray their work as an “…ongoing multimedia conversation.” through which they have sampled and remixed content. I enjoy the fact that they label it as an ‘ongoing’ conversation and therefore will review my work to ensure I continue this form of communication between the content online and the relationship the user can make from this. In order to better understand this idea of ‘conversation’ it is important to compare Arvida  Byström’s “Wifi for wife” (2014) (seen in figure 8) to ‘Screenfull’ (2004-5). Byström is a Despite the gap in time, both depict bodies of information relevant to the artists upbringing on the ‘net’. Byström’s content is ‘cute’ eroticism with a hint of perversion, not too dissimilar to my work. In comparison to ‘Screenfull’ who’s aesthetic isn’t as crisp, perverted and melancholic as mine or Byström’s. If according to Linkoln and Jimpunk, being an internet artist is contributing to an “....ongoing multimedia conversation.” this bids me to question what is the conversation? more importantly, what does my work contribute to the relevant conversation? is it anything worth discussing? or does my work cease to be relevant due to the hollowness of my conversation?. These questions will become clearer as the project progresses. 

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Figure 6: Crudeli D, THE ART HAPPENS HERE (net art diagram), 2020. 

image sources: 

2012

https://www.reddit.com/r/starterpacks/comments/5t5ul9/the_dark_tumblr_girl/

https://twitter.com/hiqween/status/665353650529681413

https://www.redbubble.com/people/festivejim/works/26775152-tumblr-vapor-wave

https://www.dictionary.com/e/slang/aesthetic/

https://www.tumblr.com/tagged/barbie+mug+shot

2014 

https://www.vox.com/the-goods/2020/5/7/21247938/tumblr-aesthetic-2014-nostalgia-tiktok-indie-pop

https://weheartit.com/entry/102897057

https://www.tumblr.com/tagged/cigarettes-rock

https://quotesgram.com/grunge-happy-quotes/

https://twitter.com/tumblr_girloffc

https://archive.totalfratmove.com/i-dare-you-to-find-a-hotter-tumblr-than-sdsu-alpha-phis/comment-page-6/

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Figure 5: Linkoln A (Rick Silva), Complex Net Art Diagram, 2003. 

https://anthology.rhizome.org/simple-net-art-diagram

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P3

To further understand the functionality of my artwork it is necessary to examine  the interface as well as the source. In this sense, the “source” I refer to is the internet itself. According to google the internet also referred to as ‘the net’ can be defined as:

Exert 2:

“a global computer network providing a variety of information and communication facilities, consisting of interconnected networks using standardized communication protocols.”

The above exert defines the functionality of the ‘net’ and therefore provides a clearer framework for how ‘net art’ not only functions but also the architecture it follows. There are many relevant artists who have paved the way in terms of ‘internet art’. To further examine how “...interconnected networks...” communicate online in order to produce art I refer to the simple net art diagram (SNAD).  This is depicted in figure 4, I would like to focus on the phrase “the art happens here” (1997) The “art” that occurs is between the communication of two (or more) computer systems (1997). This was created by artist duo MTAA (1997). This diagram is fundamental as it proclaims that internet art ‘happens’ therefore it is conceived as an action/performance as well as being referred to by its ‘in-betweenness’ (1997). Many other artists have decided to create modern renditions to show the growth and complexity between networks. The artist Abe Linkoln (Rick Silva) in 2003 re-imagined the work as the ‘Complex Net Art Diagram’ (figure 5). As an exercise I decided to create my own version of the content that has nurtured not only my artistic practice but also who I am as a person (no image in this is my own). This is seen within figure 6, it is evident from my own (SNAD) model what influences have created the aesthetic and content I now create. What I find most compelling about the SNAD model is that the ‘here’ attains multiple meanings. I interpret the 'here’ as no clear distinction between the ‘author’ and ‘audience’ further exemplifying ‘coders’ as an unidentifiable presence. My work and practise is a platter of the time I have existed online - showcasing social, cultural and historical references. This is overtly obvious in the site ‘enter me’ which conveys a feedback loop of collected gifs that adhere to various Tumblr aesthetics. It proposes the question, “what is the meaning of choice?” suggesting the user to meditate and digest what little information I give them.  A more subtle reference is the site importantanouncement.tumblr.com that plays pop anthems over the top of a video discussing the use of crystal balls. The collection of songs was not at random, In fact these songs are pulled from a playlist used as a torture method in the middle east (Barnes 2014). The playlist is sacred to the early 2000’s and yet used for alternative motives, this made me examine all the content the web shares - is any part of the internet innocent? 

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Simple Net Art Diagram, 1997, animated gif. 

https://anthology.rhizome.org/simple-net-art-diagram

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Figure 3: 

Crudeli D, Order Now, 2020

https://themutantqueen.tumblr.com/

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P2

Based on my research findings I feel it necessary to imply the theoretical contexts above to the project in order to further investigate the questions I have proposed. In particular, what is the making of the work? and how does it attach itself to the attainment of desire? and its relationship to the panopticon.In a more broader sense, how does my work an exemplar of this. To begin my investigation, I present in figure 1 a screenshot from a video work on one of the sites I had created. My idea behind this video was to sell a product of absurdity and focus heavily on the action of ‘selling’ rather than the actual product. The product is a grade-b aluminium mask with a full face of make-up. The mask mimic’s products that were frequently advertised overtime, my goal was to add a marketing “spin” so that the product appear as a heavily in demand consumer item. I have included two examples, the first product is from 1999 and the second from 2016, both products exhibit a science fiction aesthetic that I appropriate in order to create a product with an uncanny appearance and a (skew-if) quality. How does this commercial product relate to the attainment of desire? I now focus my attention on the architecture of informercials to present and argument for the selling of female products as a mass consumption of internet propaganda. Applying the marketing of the informercial, was an idea I have appropriated onto my interface and in my work. The overarching idea points to treating myself like a product that connects the user to the experience of feeling comfortable with the “purchase”. I enjoy infomercials seductive allure. Which is why I add such sad marketing ploys to all my interfaces. My site’s are a failed attempt at a ‘rebellion’ to the internet. I admit defeat. Tumblr is a site I have spent the developmental years of my life on. This site is saturated with heterosexual content, constantly romanticising every moment in life. I was born on the internet, I am a product of the items I produce and the work I make. This work (figure 3) uses humour to dilute these sad facts of my upbringing. In the final scene of this video, I expose myself (see image below) as a blurry embodiment of the future. As the clip ends, it depicts the viewers next recommended video as a way to bring the viewer back in. This easter egg is carried through to the site insidemycrystal.tumblr.com as another hint to the coder of all these realms. 

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Figure 2:

https://www.teenvogue.com/story/neutrogena-light-therapy-acne-mask-review

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Figure 1:

http://www.foundfootagefest.com/2013/12/rejuvenique-face-mask/