We Rep [Ideas]

Le Confiture: Intro & Overview

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Once upon a time not long ago – when people whore tag jammers and rendered life on the low – when laws were stern and justice stood – and kids were misbehaving like they aught to should – There lived a little toy who was mislead – by another little toy and this is what he said: Me and you kid we’re gonna craft some fame – posting up drama while tagging his name. They hit some spots – fame came with ease – but one couldn’t stop it’s like he has a disease…

-Adapted from Children’s Story By Slick Rick 

The  scenario to follow is a “day in the life of” story about a Graffiti Writer overcoming and subverting what we might call “writers block”: the combined chilling effects of materials prohibition, pervasive surveillance technologies, inaccessible mediums, shrinking spaces for expression (aka habitat destruction) and the inattention of fragmented audiences lost in an over mediated fog of advertising. How does the artist overcome and adapt?

Along with the help of a growing creative insurgency made up of home grown hactivists, moonshiners, code breakers, trackers and map makers; Graffiti Writers do their best to bypass the barriers standing in between them and their pursuits of mediated presence, dialogue and fame. What is the future Graffiti  experience? Where does it take place?

Le Confiture (The Jam) takes place “once upon a time” several decades after the disappearance of graffiti, as we know it today. Technological progress, privatization and public paranoia has forced Graffiti Culture out of its more familiar and tangible surroundings- causing its migration towards freshly augmented realities and virtual worlds that present themselves as blank canvases (Habitats) to express on and speak from. Within this new context, Graffiti lives on.

Unfortunately, many of these augmented realities and virtual spaces apply and enforce the same laws, codes of conduct, and logics that squeezed Graffiti from its original habitats. Within this new paradigm, security, cost of production, bandwidth, connection speeds, traffic volume and membership agreements frequently determine the artist’s potential for self-actualization. Which often finds it-self half rendered and lagging. Further adaptation is required. How does one make their mark within this plural context?

As method to this madness, graffiti artists rely more heavily on soft-tools and semi-autonomous agents, also know as “toy soldiers”. These agents are designed and programmed to help the artist achieve and maintain a plural-all city- digital graffiti presence, now necessary within the complex mixture of overlapping worlds. These agents are, all at once, collaborators, students, and works of art; always evolving in style, sketching themselves out, questioning, collecting, learning from, and commenting on, the landscapes and experiences that surround them. Graffiti writers are their “imaginations”, temporary masters, and mentors guiding their actions, teaching and training them towards achieving mutually beneficial outcomes. What is the nature of this collaborative relationship? What is gained and what is lost? What is the role of imagination in a world of automation?

Within this highly mediated theatre known as Dataspace, the Graffiti Writer and his agents are just one in a billion actors fighting for space, bandwidth and attention on a massively multiplayer mixed reality stage; Performing for an always on and lurking audience inhabited by people places and things. Graffiti is the anomaly always acting up to be seen. What does this mean?

Graffiti has  evolved; writers embrace performance, playing more seriously with time-context-medium, and most importantly message. Graffiti shouts out at you; knowing it will be seen, heard, captured, broken apart, re-assembled and transmediated back into- and across other worlds, contexts- spaces and times by the all seeing, all appropriating audience.   



Written by mlincez

March 17, 2008 at 8:25 pm

Posted in Uncategorized

Tagged with ,

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