"International Art English," by Alix Rule and David Levine, was published by Triple Canopy in July 2013. The essay, which analyzes a corpus of press releases circulated by e-flux in order to describe the language of contemporary art, circulated widely and generated debates about the relationship between language, legibility, and power in the art world—many of which are represented in this series. The authors trace the particularities of International Art English to translations of French and German critical texts published in the 1970s in journals like October. The widespread use of the Internet has, they argue, accelerated the development of IAE, turning it into a kind of lingua franca; the proliferation of international variations—French IAE, Scandinavian IAE, Chinese IAE—ends up diluting the authority of critics, "traditionally the elite innovators of IAE." Given these developments, Rule and Levine ask: "Can we imagine an art world without IAE? Without its special language, would art need to submit to the scrutiny of broader audiences and local ones? Would it hold up?"
In fall of 2012, Triple Canopy initiated Corrected Slogans (A Publication in Four Acts), conceived as the magazine’s contribution to “Postscript: Writing after Conceptual Art,” an exhibition organized by the Museum of Contemporary Art Denver. For the first and second acts, Triple Canopy’s editors staged a pair of public events at 155 Freeman Street in Greenpoint: a symposium titled Poems for America and a seminar titled Automatic Reading. These events brought together artists and writers to discuss how conceptual strategies have transformed (and might still transform) conventional notions of expression and of reading—both as an exchange between an individual and text and as a public activation of the written word. The third act was a special issue of Triple Canopy’s online magazine, Corrected_Slogans, consisting of a selection of pertinent works previously published by Triple Canopy as well as newly commissioned projects by Erica Baum, Caroline Bergvall, and Gareth Long. The final installment of the project was the book Corrected Slogans: Reading and Writing Conceptualism, which documents the previous acts but also elaborates, edits, amplifies, and contradicts via annotations, additional artworks, and critical essays; the form and content of the public discussions are reinterpreted using tools specific to print in such a way that the book enacts the conceptual strategies being discussed. Each act of Corrected Slogans was integral to the same dynamic process; the project as a whole represents Triple Canopy’s ongoing attempt to define an expanded field of publication.
On October 29, 1969, computer scientists at UCLA, the original node of ARPANET, sent the first host-to-host message to colleagues at Stanford. The message: “L.” “Did you get the L?” UCLA asked. “Yes.” Then: “O.” “Yes.” Then: Stanford’s computer crashed. This series is devoted to examining the technology that underlies Triple Canopy’s work, within the broader context of digital publishing and design. As additional elements of Triple Canopy’s new publishing platform are released in the coming months (including the numerous modules that compose Alongslide, the article-layout system, which will be packaged as an open-source application), we will publish essays and conversations that describe their function and logic. We will also address the technological architecture of various other publishing platforms; the distinction between content and collections of content as articulated in a database; the dynamic relationship between coding languages and editorial strategies; the confluence of historical print design tropes and contemporary digital design standards; and how a publication might resist the prevailing passive forms of attention that inhere in a culture—online and IRL—characterized by excessive production.
This series considers the transformation of publication, authorship, and readership in the digital age and beyond. We easily recognize a publication as a bound set of pages, containing words and images by one author or many, assembled by editors, artists, and designers. But in the past half century pages have been transmuted into cassette tapes, DVDs, discussion boards, websites, and apps. We conceive of Triple Canopy as charting this expanded field of publication, moving among media and formats, annexing terrain not conventionally associated with the magazine (whether communication networks or disused storefronts). The series—named after a class organized in 2010 by The Public School New York—represents Triple Canopy’s attempts to rethink publication amidst the inevitable churn of novelty and anachronism that characterize the “digital age,” as the distinction between experience online and IRL narrows. It includes media excavations and Web 1.0 reminiscences, software experiments and samizdat scholarship, as well as polemical writings by the editors—on writing after conceptual art, on syntaxes of verse and GIF, and on publishing after the shift from disciplinary to tech-enabled control societies.
What is media studies? A field of study that focuses on the dissemination of information to an audience across a broad spectrum of channels. A branch of knowledge that deals with forms of communication such as the Internet, television, radio, books, and periodicals. A field of study concerned with mass media, the nature of these media and the ways in which they shape individuals and society—history, content, effects. The process of putting one's self in the place of the other person's attitude, communicating through significant symbols. The search for the great community. Top seven signs your content goes viral. The effort to discover the means by which a scattered, mobile, and manifold public may so recognize itself as to define and express its interests. We are all familiar with the media, which so influence our perceptions, interactions, labor, leisure, cognitive development, sexual behavior, and political activities. You can find more information here.
Reading—reading aloud, reading aloud texts authored by others (and sometimes rewriting them first)—is a creative act, a way of devising new forms of authority. Written text is now increasingly detached from the unifying format of the book and is accessed online, circulated and reproduced digitally, viewed on myriad screens. What, in this context, might it mean to represent a text by voice alone? What does the sound of reading—alone or with a chorus—contribute, alter, or signify? The works presented in this series are reimagined by means of voice. Their authors attend to the ways in which sonic elements, a pause for (human) breath or the odd cadence of audio generated by a text-to-speech program, contribute to the sense and feeling of a written work. Here the new is less important than the now, the presence of an audience and the presence of the reader. This series includes adaptations of classics and appropriations from popular culture, interrogations of the past in the present, and the performance of allegedly illegible novels. Instead of reading silently, we submit to the power of speech, chant, mumble, whine, declamation, and even, in at least one instance, song.