By writing this I am making Cybraphon happy and by reading this you are making me happy. Here’s what criticismism has in common with an autonomous emotional robot.
FOUND collective’s sculpture tracks hits to its own website and obsesses over its stats and indeed, like most bloggers, that is activity I can all too easily relate to.
Cybraphon monitors Twitter, Facebook and Google for mentions of itself and to some extent that’s me too, for shame. Perhaps it’s you as well.
Cybraphon will even go so far as to sing about its own levels of popularity. This is usually a step too far for me, but I admire the chutzpah of the moody robot band.
After all, it has some great tunes. In fact, the sculpture’s unabashed joy and despair at its own varying levels of fame are themselves a pleasure to encounter.
And then there is the conspicuous retro styling. It suggests, despite the engagement with web 2.0, this individual hasn’t changed much since the industrial revolution.
Self-consciousness and concern with what others might be thinking or saying is pre-industrial. These failings are so human and timeless it is impossible not to like this art.
My new friend has just enjoyed its last day at De La Warr Pavilion, Bexhill-on-Sea. Please see website for details of its next destination.
Feel more free than usual to share this story using the buttons or leave a comment. But it is of course more important you like Cybraphon.
To reduce it all to economics, which is often tempting, artists make product to make money, or a living at least. Those who do not manage this, still put value on their work.
Say the artwork’s function is to generate revenue. It has done so historically by being beautiful and hence desirable, and from the 20th century onwards it has done so by being new which, as advertisers will demonstrate, is another way to sell.
But it cannot be said that art is an efficient way of getting rich. As with most creative pursuits, most pracititioners never make it pay. In professional terms it is like panning for gold or gambling. Although some do well.
Given all this, A Tool to Deceive and Slaughter by Caleb Larsen is a very pure gesture. As you see it as an unadorned black box which apparently does nothing, while in fact this objet d’art is sending messages to a web server to check on its own progress in an eBay auction. Yes, it sells itself.
Each new owner must plug it back it into the ethernet and let it create a new auction. It has automated the role of artist and of dealer, which is apparently to deceive and slaughter. If you thought art was a gift economy, this piece by Larsen should make you think again.
The starting price is $7,500 and you can check out the eBay page here. And there is a precedent for this kind of thing. In 1961 Robert Morris made Box with the Sound of its Own Making, which did pretty much what it said on the plaque.
A Tool to Deceive and Slaughter is part of Suspending Disbelief, an exhibition at Lighthouse, Brighton, until 5 September. See gallery website for opening times.