Y SIN EMBARGO magazine, issue #25, now released, but only for a limtited period of time.
The subject of this Y SIN EMBARGO is precisely memory, its forms, places, functions and posibilities, its updates upgrades, and therefore its new forms, places, functions and posibilities. And to go beyond in the logic and critical readings around these questions, the present issue will not have a permanent existence, available, as a part of the shared memory that we humans have on the web; on the contrary, it will be a work sent directly to the void, it will be lost, as a pile of organized energy in a dissipative medium, like all that we cannot download from our heads (or access anywhere),
YSE#25, just a memory, will cease existing on October 5th, 2010.
(I have not contributed this time but other excellent folks, artists and photographers have, check the link please!)
The latest issue (# 23) of this excellent on-line magazine is out NOW!
from the presentation of this issue of the magazine:
– What lies beneath the urge to possess?
– When there’s no other way to enjoy objects, their possession guarantees their unlimited enjoyment, without being subject to timetables, programs, ticket fares… But if we’re granted infinite availability of the object for its enjoyment, why do we still want it to be ours?
– Do we download and accumulate files because they’re free? Because it’s easy? When does desire or need of the object/file itself intervene?
– Our digital collections are fragile, subject to the quick (even sudden) deterioration of storage devices, to the constant evolution in formats. Why do we insist in keeping what is bound not to last?
– The accumulated, the possessed turns into obligation: we possess a growing collection of things waiting to be watched, listened to, read – things we didn’t really want of need when we were tempted to click and download.
– Traditional possession implied its ostentation. What shapes does virtual ostentation take? Through our lists of “favorites”, “interests”, “music I like”, “books I’ve read”… isn’t status being defined by what we know rather than by what we have?
– Or is fetish being displaced from the possession of the “object” to the possession of the “channel” for obtaining it? Do we show off our premium user accounts and our connection speed just as we used to boast about the volume occupied by our bookshelves?
– And if this is true, what does it imply? Would the business move from selling edited objects to selling channels to obtain them? Would sales be measured by “number of reproductions”? Would thus the current industrial model be perpetuated after some face-washing… or would there be more room for “independent” alternatives, whatever it means?
– Could anyone be a great virtual collector without possessing a single file in their HDD?
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
colacao + additional stuff
nevus project / albert jordà
front cover(ing) & open(ing) multitudes: andrés waissman
back cover(ing) hand: fernando prats
roman aixendri jordi calvet bas sebastián de cheshire hernán dardes oriol espinal ezook thomas hagström bill horne graciela oses françoise lucas paula palombo alicia pallas fernando prats rivera valdez miguel ruibal jef safi andrés waissman
barcelona buenos aires
mar del plata