“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.
Paul Slocum is a Texan artist with a computer science degree who creates original music and video with obsolete computers and videogame consoles like the Commodore 64 and the Atari 2600. The ‘partisanship’ that inspires Slocum, urges him to achieve unique objects like the conversion, through firmware (EPROM) re-programmingof an old Epson LQ500 printer into a real music machine. One of his recent (many) projects is ‘Deep House for Symphonic Band and Choir‘, an installation that the author defines as a “dance hit composed for high school or college band and choir.” He has placed on a wall a series of music scores, one for each of the involved instruments, in a space marked off by two grow lights. In front of the wall there are two speakers playing a looped track with orchestral / choir elements arranged in a typical deep house melody and structure. The most fascinating installation element are the signs on these scores. On one hand they seem completely abstract and contemporary, on the other hand, they are the true transcription on a stave of notes floating everyday around us. We are facing here a shifting of codes, skillfully orchestrated in the work. This process creates a sort of ‘magic boxes’, thought up to trigger specific language transpositions.